Handbook of Music and Emotion
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Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area.The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the…mehr

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Produktbeschreibung
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area.The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth.The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five coversdevelopmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions forthe field.The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as withits predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.
Autorenporträt
Laura-Lee Balkwill, Department of Psychology, Queen's University, CANADA Judith Becker, School of Music, University of Michigan, USA Annabel Cohen, Department of Psychology, University of Prince Edward Island, CANADA Nicholas Cook, Department of Music, University of Cambridge, UK Stephen Davies, Department of Philosophy, University of Auckland, NEW ZEALAND Tia DeNora, Department of Sociology, University of Exeter, UK Nicola Dibben, Department of Music, University of Sheffield, UK Tuomas Eerola, Department of Music, University of Jyvaskyla, FINLAND Thomas Fritz, Department of Neurophysics, Max Planck Institute for Human Cognitive and Brain Sciences, GERMANY Alf Gabrielsson, Department of Psychology, Uppsala University, SWEDEN Reebee Garofalo, College of Public & Community Service, University of Massachusetts Boston, USA Susan Hallam, Institute of Education, University of London, UK Erin Hannon, Department of Psychology, University of Nevada Las Vegas, USA Suzanne Hanser, Mus
Rezensionen
Handbook of Music and Emotion, by Patrik N. Juslin and John A. Sloboda, is an excellent book. It is comprehensive and up-to-date, well organized, well written, and stimulating. Music Perception