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31 gru 2013 · The goal of this chapter is to review contemporary empirical research on music and emotion primarily within music psychology. We begin by commenting on the recent history of the field.
2 paź 2014 · This chapter provides a review of psychological studies of expression and communication of emotions in the performance of music. First, we provide working definitions of key concepts, and consider how performers may conceive of these issues.
7 kwi 2024 · By integrating theory and data from multiple domains, we present the Framework for Adaptable Musical Emotions (FAME), which explains emotional responses to music through the mechanism of emotion adaptability on a continuum of evolutionary to fleeting time frames.
1 sty 2010 · It provides 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 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.
2 paź 2014 · Aesthetic judgment refers to a process whereby an emotion is evoked in the listener because of his or her evaluation of the music’s aesthetic value. First, the listener adopts an “aesthetic attitude,” which means that aesthetic criteria (e.g., beauty, novelty) are brought to bear on the music (see Figure 13.2).
Music theory provides technical descriptions of how styles organize musical sounds and offers insights about musical structures that might underlie listeners' expectations. Cognitive science has recently influ enced music theory. A major devel opment is Lerdahl and Jackendoff's (1983) generative theory of tonal music and its recent extension in
