Handbook of Music and Emotion: Theory, Research, Applications

- A sucessor to a groundbreaking and highly successful earlier volume, but substantially expanded and broadened
- Contains scholarly reviews of a very wide range of subtopics, and hence can be used as a starting point for exploring the field
- Provides a range of multidisciplinary perspectives, helping to broaden the reader's view on the field
- Features detailed suggestions for further reading and can be used to design special courses on music and emotion

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area.

The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth.
The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field.

The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.

CONTENIDO:

Part I: Overture

1: Patrik N.Juslin & John A.Sloboda: Introduction: Aims, organization, and terminology

Part II: Multidisciplinary Perspectives

2: Stephen Davies: Emotions expressed and aroused by music: Philosophical perspectives
3: Nicholas Cook & Nicola Dibben: Emotion in culture and history: Perspectives from musicology
4: John A.Sloboda & Patrik N.Juslin: At the interface between the inner and outer world: Psychological perspectives
5: Isabelle Peretz: Towards a neurobiology of musical emotions
6: Judith Becker: Exploring the habitus of listening: Anthropological perspectives
7: Tia DeNora: Emotion as social emergence: Perspectives from music sociology

Part III: Measurement

8: Marcel Zentner & Tuomas Eerola: Self-report measures and models
9: Emery Schubert: Continuous self-report methods
10: Daniel Västfjäll: Indirect perceptual, cognitive, and behavioural measures
11: Donald A.Hodges: Psychophysiological measures
12: Stefan Koelsch, Walter A.Siebel, and Thomas Fritz: Functional neuroimaging

Part IV: Music Making

13: Dean Keith Simonton: Emotion and composition in classical music: Historiometric perspectives
14: Alf Gabrielsson & Erik Lindström: The role of structure in the musical expression of emotions
15: Robert Woody & Gary E.McPherson: Emotion and motivation in the lives of performers
16: Dianna T.Kenny: The role of negative emotions in performance anxiety
17: Patrik Juslin & Renee Timmers: Expression and communication of emotion in music performance

Part V: Music Listening

18: John A.Sloboda: Music in everyday life: The role of emotions
19: David J.Hargreaves & Adrian C.North: Experimental aesthetics and liking for music
20: Alf Gabrielsson: Strong experiences with music
21: David Huron & Elisabeth Hellmuth Margulis: Musical expectancy and thrills
22: Patrik N. Juslin, Simon Liljeström, Daniel Västfjäll & Lars-Olov Lundqvist: How does music evoke emotions? Exploring the underlying mechanisms

Part VI: Development, Personality and Social Factors

23: Sandra E. Trehub, Erin E.Hannon & Adena Schachner: Perspectives on music and affect in the early years
24: Peter J. Rentfrow & Jennifer A.McDonald: Preference, personality, and emotion
25: Vladimir J.Konecni: The influence of affect on music choice
26: Reebee Garofalo: Politics, mediation, social context, and public use
27: William Forde Thompson & Laura-Lee Balkwill: Cross-cultural similarities and differences

Part VII: Applications

28: Susan Hallam: Music education: the role of affect
29: Michael H.Thaut & Barbara L. Wheeler: Music therapy
30: Suzanne Hanser: Music, health, and well-being
31: Annabel J. Cohen: Music as a source of emotion in film
32: Adrian C.North & David J. Hargreaves: Music and marketing

Part VIII: Encore

33: Patrik N.Juslin & John A.Sloboda: The past, present, and future of music and emotion research