Psychomusicology

Articles from Vol. 24, No. 1, 2014

Abstracts of Doctoral Theses Related to Interactions between Emotion and Cognition in Music
Affective Analysis of Music Using the Progressive Exposure Method: The Influence of Bottom-Up Features on Perceived Musical AffectJoshua D. AlbrechtDoctoral Dissertation, 2012, Music Department, The University of Mary Hardin-Baylor. E-mail: jalbrecht@umhb.eduSupervised...
A Cognitive-Emotional Opening to PMMB's Second Year of Quarterly Publication
I would like to acknowledge the outstanding work of Renee Timmers and Eduardo Coutinho, the guest coeditors of this special issue on "Interactions between Emotion and Cognition in Music" for Psychomusicology: Music, Mind, & Brain (PMMB). Their respective...
Emotional Processing in Music: Study in Affective Responses to Tonal Modulation in Controlled Harmonic Progressions and Real Music
The pitch material of virtually all the musics of the world is organized into tonal hierarchies in which the pitch classes of a tonal scale divide the octave into (typically) five to seven steps of a tonal scale, with a stable "home base" in the tonic...
Emotions during Live Music Performance: Links with Individual Differences in Empathy, Visual Imagery, and Mood
Emotional responses to music involve the interplay of multiple factors related to music, listener, and situation (Gabrielsson, 2001; Scherer & Zentner, 2001). For instance, individuals differ in their capacity to understand and respond to the emotions...
Influences of Structure and Agency on the Perception of Musical Change
In previous work, we and others have shown that continuous perceptions of change in an ongoing piece of music can be significant predictors of nonmusicians' continuous perception of the affect expressed by the piece (Bailes & Dean, 2012; Dean &...
Is Music Performance Anxiety Just an Individual Problem? Exploring the Impact of Musical Environments on Performers' Approaches to Performance and Emotions
Cultural environments appear to impact on the way individuals appraise events and, as a consequence, on their emotional experiences (Jarymowicz & Bar-Tal, 2006; Markus & Kitayama, 1991; Schwartz, 1992, 2006; Turner & Stets, 2008). However,...
Letter from the Guest Editors
Welcome to this special issue on interactions between emotion and cognition in music. The combined investigation of emotion and cognition and their interactions has been prominent in general psychology for some years. Nonetheless, we felt that within...
Measuring Musical Engagement Using Expressive Movement and EEG Brain Dynamics
The research reported here examines the behavior and brain dynamics supporting the experience of musical engagement, defined here as the experience of consciously "entering into" the experience of music as it is heard, imagined, or performed, a condition...
Music, Feelings, and the Human Brain
Researchers interested in the brain's processing of music agree that music evokes a wide range of feelings (Sloboda, O'Neill, & Ivaldi, 2001) and have, understandably, devoted considerable effort to the investigation of music-related affect (for...
Report of the International Summer School of Musical Understanding. Philosophical, Psychological, and Neuroscientific Approaches (University of Sheffield, July 8-11, 2013)
An Interdisciplinary Approach to Musical Understanding: Aims of ISSMUMusic research is at the crossroads between different disciplines. Within this rubric, areas such as historical musicology, ethnomusicology, music composition, or psychology of music...
The Effects of Expert Musical Training on the Perception of Emotions in Bach's Sonata for Unaccompanied Violin No. 1 in G Minor (BWV 1001)
The subject of music and emotion has been relatively neglected in current musicology and music theory, compared with the huge attention granted music's formal and topical aspects (Spitzer, 2010). Leonard Meyer is the best known theorist to have studied...
The Influence of Mode and Musical Experience on the Attribution of Emotions to Melodic Sequences
The power of music to elicit emotion is intuitively understood. As Robert G. Ingersoll noted "Music expresses feeling and thought, without language. It was below and before speech, and it is above and beyond all words." (1891). The connection between...
Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.