Juslin Patrik N. - Handbook of music and emotion: theory, research, and applications

HANDBOOK OF
MUSIC AND EMOTION THEORY, RESEARCH, APPLICATIONS

Series in Affective Science
Series Editors
Richard J. Davidson
Paul Ekman
Klaus Scherer

The Nature of Emotion
Fundamental Questions
Edited by Paul Ekman and Richard J. Davidson

Boo!
Culture, Experience, and the Startle Reflex
Ronald Simons

Emotions in Psychopathology
Theory and Research
Edited by William F. Flack Jr. and James D. Laird

What the Face Reveals
Basic and Applied Studies of Spontaneous
Expression Using the Facial Action Coding
System (FACS)
Edited by Paul Ekman and Erika Rosenberg

Shame
Interpersonal Behavior, Psychopathology, and Culture
Edited by Paul Gilbert and Bernice Andrews

Affective Neuroscience
The Foundations of Human and Animal Emotions
Jaak Panksepp

Extreme Fear, Shyness, and Social Phobia
Origins, Biological Mechanisms, and Clinical Outcomes
Edited by Louis A. Schmidt and Jay Schulkin

Cognitive Neuroscience of Emotion
Edited by Richard D. Lane and Lynn Nadel

The Neuropsychology of Emotion
Edited by Joan C. Borod

Anxiety, Depression, and Emotion
Edited by Richard J. Davidson

Persons, Situations, and Emotions
An Ecological Approach
Edited by Hermann Brandsttter and Andrzej Eliasz

Emotion, Social Relationships, and Health
Edited by Carol D. Ryff and Burton Singer

Appraisal Processes in Emotion
Theory, Methods, Research
Edited by Klaus R. Scherer, Angela Schorr, and
Tom Johnstone

Music and Emotion
Theory and Research
Edited by Patrik N. Juslin and John A. Sloboda

Nonverbal Behavior in Clinical Settings
Edited by Pierre Philippot, Robert S. Feldman,
and Erik J. Coats

Memory and Emotion
Edited by Daniel Reisberg and Paula Hertel

Psychology of Gratitude
Edited by Robert A. Emmons and
Michael E. McCullough

Thinking about Feeling
Contemporary Philosophers on Emotions
Edited by Robert C. Solomon

Bodily Sensibility
Intelligent Action
Jay Schulkin

Who Needs Emotions?
The Brain Meets the Robot
Edited by Jean-Marc Fellous and
Michael A. Arbib

What the Face Reveals
Basic and Applied Studies of Spontaneous
Expression Using the Facial Action Coding
System (FACS), Second Edition
Edited by Paul Ekman and Erika L. Rosenberg

The Development of Social Engagement
Neurobiological Perspectives
Edited by Peter J. Marshall and Nathan A. Fox

Handbook of Emotion Elicitation and Assessment
Edited by James A. Coan and John J. B. Allen

Emotion and Memory in Development
Biological, Cognitive, and Social Considerations
Edited by Jodi A. Quas and Robyn Fivush

Emotion explained
Edited by Edmund T. Rolls

New handbook of nonverbal behaviour research
Edited by Jinni Harrigan, Robert Rosenthal
and Klaus Scherer

PATRIK N. JUSLIN
and
JOHN A. SLOBODA

Great Clarendon Street, Oxford OX2 6DP

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Oxford University Press, 2010

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First published 2010
First published in paperback 2011

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Typeset by Cepha Imaging Private Ltd., Bangalore, India
Printed in Great Britain
on acid-free paper by
Ashford Colour Press
Gosport, Hampshire

ISBN 9780199230143
ISBN 9780199604968 (pbk)

10 9 8 7 6 5 4 3 2 1

This is an important volume. It is a beautiful joint enterprise by most, or all, of the most prominent researchers currently in the field. It also represents an extremely multi-faceted enterprise. It approaches the topic of music as a source of emotions from a large number of different perspectives and levels of analysis: as an intrapersonal process, as an interpersonal or social phenomenon, and as a product of cultural influences and traditions. The emotions evoked by music are examined in great detail, and the various methods by means of which they can be assessed are discussed, as are the emotions that are involved in composing and performing music. One cannot but be impressed by the range of issues treated, and the efforts put into approaching this multifaceted area in depth.

I think that the domain of music and emotion is crucial for understanding emotion and emotion processes generallyprecisely because the processes involved appear to diverge importantly from those that we think are involved in everyday emotions. Everyday emotions are best understood as the outcome of events in the world or the individuals history, which are appraised as relevant to the individuals personal concerns. They have much to do with the relationship between the individual, other people, and the world. Appraisal of relevance to concerns and evoking action impulses to establish or modify individual-environment relationships are almost absent in our appraisal of and emotional response to music. Sometimes those responses appear like mirror-neuron activities that became independent. One may float and move with the music, perhaps more so than one may do in other aesthetic emotions. And perhaps this is so because in listening to music, one is not required to deal with things and with space, but with timewith being and becoming and fading away or decaying.

I think the present volume brings us nearer to realizing the mysteries involved in such confrontations, and closer to understanding them.

Nico Frijda

Science is a social enterprise, and a number of people contributed their time and expertise to this joint venture. First and foremost, this handbook would not exist without the authors. We would like to thank them for entering into the project with great enthusiasm, professionalism, and efficiency. It was a pleasure to work with first-rate authors who contributed intellectually stimulating material. Many of the authors also reviewed first drafts of chapters for this book. We are further grateful to a large number of external referees who participated in the review process, including Eckart Altenmller, Steven Brown, Martin Clayton, Jane Davidson, Steven Dollinger, David Elliott, Andy Evans, Anders Friberg, Simon Frith, Ernest Haakanen, Morris Holbrook, Petr Janata, Tom Johnstone, James Kellaris, Petri Laukka, Colin Martindale, Cathy McKinney, Julie Nagel, Richard Parncutt, Aniruddh Patel, David Rawlings, Bennett Reimer, Bruno Repp, Nikki Rickard, Even Ruud, Suvi Saarikallio, Paul Silvia, Maria Spychiger, Tres Theorell, Bradley Vines, Ulrik Volgsten, Aaron Williamon, and Graham Welch (a number of additional referees preferred to be anonymous). We especially thank Nico Frijda for writing a Foreword, and Graham Welch for providing us with a workspace during our London meeting. We would also like to acknowledge everyone at Oxford University Press who helped with this project - especially our senior commissioning editor, Martin Baum, and our production editor, Marionne Cronin, who were highly supportive of the project at various stages.