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Handbook of Music and Emotion: Theory, Research,
Applications$
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Patrik N. Juslin

Print publication date: 2010

Print ISBN-13: 9780199230143

Published to Oxford Scholarship Online: March 2012

DOI: 10.1093/acprof:oso/9780199230143.001.0001

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Cross-Cultural Similarities and Differences

Cross-Cultural Similarities and Differences

Chapter:
(p.755) Chapter 27 Cross-Cultural Similarities and Differences
Source:
Handbook of Music and Emotion: Theory, Research, Applications
Author(s):

William Forde Thompson

Laura-Lee Balkwill

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199230143.003.0027

This chapter reviews empirical studies of music and emotion that involve a cross-cultural comparison, and outlines prevailing views on the implications of such studies. It begins by discussing some theoretical implications of research on cross-cultural commonalities in the association between music and emotion. Section 27.2 reviews the central questions arising from cross-cultural research on emotion. Section 27.3 outlines the cue-redundancy model, developed to account for cross-cultural similarities and differences in the expression and recognition of emotion in music. Section 27.4 presents a broader framework for summarizing existing data on emotional communication, referred to as fractionating emotional systems (FES). FES extend the cue-redundancy model by accounting for similarities and differences in emotional communication, not only across cultures but also across the auditory channels of music and speech prosody. Section 27.5 reviews cross-cultural studies of music and emotion, while section 27.6 reviews cross-cultural studies of emotion in speech. Section 27.7 identifies some future prospects for the cross-cultural study of music and emotion.

Keywords:   music, emotion, cross-cultural studies, fractionating

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