- Title Pages
- List of Contributors
- Chapter 1 Introduction
- Chapter 2 Emotions Expressed and Aroused by Music
- Chapter 3 Emotion in Culture and History
- Chapter 4 At the Interface Between the Inner and Outer World
- Chapter 5 Towards a Neurobiology of Musical Emotions
- Chapter 6 Exploring the Habitus of Listening
- Chapter 7 Emotion as Social Emergence
- Chapter 8 Self-Report Measures and Models
- Chapter 9 Continuous Self-Report Methods
- Chapter 10 Indirect Perceptual, Cognitive, and Behavioural Measures
- Chapter 11 Psychophysiological Measures
- Chapter 12 Functional Neuroimaging
- Chapter 13 Emotion and Composition in Classical Music
- Chapter 14 The Role of Structure in the Musical Expression of Emotions
- Chapter 15 Emotion and Motivation in the Lives of Performers
- Chapter 16 The Role of Negative Emotions in Performance Anxiety
- Chapter 17 Expression And Communication of Emotion in Music Performance
- Chapter 18 Music in Everyday Life
- Chapter 19 Experimental Aesthetics and Liking for Music
- Chapter 20 Strong Experiences with Music
- Chapter 21 Musical Expectancy and Thrills
- Chapter 22 How Does Music Evoke Emotions?
- Chapter 23 Perspectives on Music and Affect in the Early Years
- Chapter 24 Preference, Personality, and Emotion
- Chapter 25 The Influence of Affect on Music Choice
- Chapter 26 Politics, Mediation, Social Context, and Public Use
- Chapter 27 Cross-Cultural Similarities and Differences
- Chapter 28 Music Education
- Chapter 29 Music Therapy
- Chapter 30 Music, Health, and Well-Being
- Chapter 31 Music as a Source of Emotion in Film
- Chapter 32 Music and Marketing
- Chapter 33 The Past, Present, and Future of Music and Emotion Research
How Does Music Evoke Emotions?
How Does Music Evoke Emotions?
Exploring the Underlying Mechanisms
- (p.605) Chapter 22 How Does Music Evoke Emotions?
- Handbook of Music and Emotion: Theory, Research, Applications
Patrik N. Juslin
- Oxford University Press
This chapter presents a research project devoted specifically to studying the underlying mechanisms responsible for induction of emotion through music listening. It describes a research strategy, a novel theoretical framework, and preliminary findings from ongoing studies that explore underlying mechanisms. It discusses the implications of this work for other issues in the field of musical emotions. The early parts of the chapter review findings about the prevalence of musical emotions, because a first step in developing a framework is to know what phenomena the framework is supposed to explain. The latter parts present a unified theoretical framework that can explain these prevalence findings in terms of seven distinct mechanisms, besides cognitive appraisal. This will illustrate the role of psychological theory in telling researchers where to look for ‘clues’ in their quest to unravel the mystery of emotional responses to music.
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