- Series: Series in Affective Science
- Paperback: 504 pages
- Publisher: Oxford University Press, USA; 1 edition (October 24, 2001)
- Language: English
- ISBN-10: 0192631888
- ISBN-13: 978-0192631886
- Product Dimensions: 9.1 x 1 x 6.4 inches
- Shipping Weight: 2.2 pounds
- Average Customer Review: 4.1 out of 5 stars See all reviews (4 customer reviews)
- Amazon Best Sellers Rank: #1,597,082 in Books (See Top 100 in Books)
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Music and Emotion: Theory and Research (Series in Affective Science) 1st Edition
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One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view. Journal of Consciousness Studies, Vol 11, No 2 This is a comprehensive and enlightening text that will appeal to many. The diversity in contributions and scope of treatment of the topic makes it an essential read for anyone interested in music and emotion. The Psychologist ... the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful. Psychology of Music
About the Author
Patrik Juslin is a highly regarded music psychologist making a name for himself worldwide. John Sloboda is the leading authority on music psychology. His classic work The Musical Mind has been reprinted 15 times and been in print for 16 years
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Top customer reviews
But this book is first meant to be used by researchers, scholars and students. I wouldn't recommand it to lay people or average music lovers, who might feel lost with the complexity of the issues adressed here.
The most difficult problem in answering this question is the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can't convey any emotion at all, but merely volitional processes which the music listener is identifying with. Then, in the process of identifying, the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite characters. The process of identification generates emotions here, too.
All music psychological and neurological studies to answer the question of the origin of emotions caused by music failed, because this detour of emotions by volitional processes was not detected so far.
But how can music convey volitional processes? These volitional processes have something to do with a phenomena called by earlier music theorists "lead", "leading tone" or "striving effects". If we reverse this musical phenomena in imagination into its opposite (not the sound itself wants to change - but the listener wants the sound to stay unchanged), then we have found the contents of will the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.
Further information is available via the free download of the e-book "Music and Emotions - Research on the Theory of Musical Equilibration":
I surely suggest reading this if you want a real skin and bones understanding and not just fluffy narrative.