- Title Pages
- Contributors
- Introduction
- Chapter 1Section introduction
- Chapter 2Sad flowers
- Chapter 3Composing the expressive qualities of music
- Chapter 4The emotional power of musical performance
- Chapter 5The singer’s paradox
- Chapter 6On the resistance of the instrument
- Chapter 7Gender ambivalence and the expression of passions in the performances of early Roman cantatas by castrati and female singers
- Chapter 8The ethos of modes during the Renaissance<sup>i</sup>
- Chapter 9Section introduction
- Chapter 10How music creates emotion
- Chapter 11“Mors stupebit”
- Chapter 12Three theories of emotion—three routes for musical arousal
- Chapter 13Music-to-listener emotional contagion
- Chapter 14Empathy, enaction, and shared musical experience
- Chapter 15Music, action, and affect
- Chapter 16Rhythmic entrainment as a mechanism for emotion induction by music
- Chapter 17Striking a chord in the brain
- Chapter 18Section introduction
- Chapter 19Forms of thought between music and science
- Chapter 20Control and the science of affect
- Chapter 21The psychotropic power of music during the Renaissance
- Chapter 22Music as a means of social control
- Chapter 23The tradition of ancient music therapy in the 18th century
- Chapter 24On nostalgia
- Chapter 25Emotions, identity, and copyright control
- Appendix to “Gender ambivalence and the expression of passions” by Christine Jeanneret
- Index
Section introduction
Section introduction
- Chapter:
- (p.3) Chapter 1Section introduction
- Source:
- The Emotional Power of Music
- Author(s):
Tom Cochrane
- Publisher:
- Oxford University Press
This chapter introduces the first section of the volume on musical expressivity. It begins with a brief overview of the issue of how it is that music is expressive of emotion. The chapters in this section are then summarized. The chapter finishes with a discussion of the ways that research in this area may develop in the future.
Keywords: Introduction, music, expressivity, expressiveness, emotion, affect, future
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- Title Pages
- Contributors
- Introduction
- Chapter 1Section introduction
- Chapter 2Sad flowers
- Chapter 3Composing the expressive qualities of music
- Chapter 4The emotional power of musical performance
- Chapter 5The singer’s paradox
- Chapter 6On the resistance of the instrument
- Chapter 7Gender ambivalence and the expression of passions in the performances of early Roman cantatas by castrati and female singers
- Chapter 8The ethos of modes during the Renaissance<sup>i</sup>
- Chapter 9Section introduction
- Chapter 10How music creates emotion
- Chapter 11“Mors stupebit”
- Chapter 12Three theories of emotion—three routes for musical arousal
- Chapter 13Music-to-listener emotional contagion
- Chapter 14Empathy, enaction, and shared musical experience
- Chapter 15Music, action, and affect
- Chapter 16Rhythmic entrainment as a mechanism for emotion induction by music
- Chapter 17Striking a chord in the brain
- Chapter 18Section introduction
- Chapter 19Forms of thought between music and science
- Chapter 20Control and the science of affect
- Chapter 21The psychotropic power of music during the Renaissance
- Chapter 22Music as a means of social control
- Chapter 23The tradition of ancient music therapy in the 18th century
- Chapter 24On nostalgia
- Chapter 25Emotions, identity, and copyright control
- Appendix to “Gender ambivalence and the expression of passions” by Christine Jeanneret
- Index