- 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
Three theories of emotion—three routes for musical arousal
Three theories of emotion—three routes for musical arousal
- Chapter:
- (p.154) (p.155) Chapter 12Three theories of emotion—three routes for musical arousal
- Source:
- The Emotional Power of Music
- Author(s):
Jenefer Robinson
- Publisher:
- Oxford University Press
Different theories of emotion underwrite different mechanisms of emotional arousal, including emotional arousal by music. This paper explores three different theories of emotion, the cognitive appraisal theory, the action tendency theory and the feeling theory, and shows how each of them explains a different way or ways in which music can arouse emotions. There is considerable evidence that all three theories identify genuine mechanisms of emotional arousal. This seems to show that all three theories are correct, yet the theories make inconsistent claims about what emotions are. It is suggested that instead of thinking of these theories as rival theories of emotion, we should think of them as explaining different components in the total emotion process.
Keywords: Music, theories of emotion, appraisal theory, action tendency, emotional feelings, emotion as process
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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