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  1. Core affect and the psychological construction of emotion.James A. Russell - 2003 - Psychological Review 110 (1):145-172.
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  • Affordances and the musically extended mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  • (1 other version)The experience of emotion.Lisa Feldman Barrett - 2005 - In Lisa Feldman Barrett, Paula M. Niedenthal & Piotr Winkielman (eds.), Emotion and Consciousness. New York: Guilford Press.
    Experiences of emotion are content-rich events that emerge at the level of psychological description, but must be causally constituted by neurobiological processes. This chapter outlines an emerging scientific agenda for understanding what these experiences feel like and how they arise. We review the available answers to what is felt (i.e., the content that makes up an experience of emotion) and how neurobiological processes instantiate these properties of experience. These answers are then integrated into a broad framework that describes, in psychological (...)
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  • Knowing what you 're feeling and knowing what to do about it: Mapping the relation between emotion differentiation and emotion regulation'.Lisa Feldman Barrett, James Gross, Tamlin Conner Christensen & Michael Benvenuto - 2001 - Cognition and Emotion 15 (6):713-724.
    Individuals differ considerably in their emotion experience. Some experience emotions in a highly differentiated manner, clearly distinguishing among a variety of negative and positive discrete emotions. Others experience emotions in a relatively undifferentiated manner, treating a range of like-valence terms as interchangeable. Drawing on self-regulation theory, we hypothesised that individuals with highly differentiated emotion experience should be better able to regulate emotions than individuals with poorly differentiated emotion experience. In particular, we hypothesised that emotion differentiation and emotion regulation would be (...)
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  • Musical meaning and expression.Stephen Davies - 1994 - Ithaca: Cornell University Press.
    We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...)
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  • Music alone: philosophical reflections on the purely musical experience.Peter Kivy - 1990 - Ithaca: Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  • (1 other version)Emotional responses to music: The need to consider underlying mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...)
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  • Flow: The Psychology of Optimal Experience.Mihaly Csikszentmihalyi - 1990 - Harper & Row.
    The author introduces and explains the flow psychological theory. He demonstrates how it is possible to improve the quality of life by controlling the information that enters the consciousness.
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  • Dance, Music, Meter and Groove: A Forgotten Partnership.W. Tecumseh Fitch - 2016 - Frontiers in Human Neuroscience 10:150796.
    I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce (...)
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  • Psychophysiological measures.Donald A. Hodges - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  • The nature of music from a biological perspective.Isabelle Peretz - 2006 - Cognition 100 (1):1-32.
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  • Handbook of Music and Emotion: Theory, Research, Applications.Patrik N. Juslin & John Sloboda (eds.) - 2011 - Oxford University Press.
    A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.
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  • Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions.Mark Reybrouck & Tuomas Eerola - 2017 - Frontiers in Psychology 8.
    The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided (...)
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  • The pleasures of sad music: a systematic review.Matthew E. Sachs, Antonio Damasio & Assal Habibi - 2015 - Frontiers in Human Neuroscience 9:146300.
    Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and (...)
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  • Theories and measures of consciousness: An extended framework.Anil K. Seth, Gerald M. Edelman, Eugene I. Izhikevich & George N. Reeke - 2006 - Proceedings of the National Academy of Sciences of the Usa 103 (28):10799-10804.
    A recent theoretical emphasis on complex interactions within neural systems underlying consciousness has been accompanied by proposals for the quantitative characterization of these interactions. Here, we distinguish key aspects of consciousness that are amenable to quantitative measurement from those that are not. We carry out a formal analysis of the strengths and limitations of three quantitative measures of dynamical complexity in the neural systems underlying consciousness: neural complexity, information integration, and causal density. We find that no single measure fully captures (...)
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  • Emotional Granularity Effects on Event-Related Brain Potentials during Affective Picture Processing.Ja Y. Lee, Kristen A. Lindquist & Chang S. Nam - 2017 - Frontiers in Human Neuroscience 11.
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  • (1 other version)Music and Negative Emotion.Jerrold Levinson - 1982 - Pacific Philosophical Quarterly 63 (4):327-346.
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  • Nonlinear neurodynamics of intentionality.Walter J. Freeman - 1997 - Journal of Mind and Behavior 18 (2-3):291-304.
    Study of electroencephalographic brain activity in behaving animals has guided development of a model for the self-organization of goal-directed behavior. Synthesis of a dynamical representation of brain function is based in the concept of intentionality as the organizing principle of animal and human behavior. The constructions of patterns of brain activity constitute meaning and not information or representations. The three accepted meanings of intention: "aboutness," goal-seeking, and wound healing, can be incorporated into the dynamics of meaningful behavior, centered in the (...)
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  • Musical Meaning and Expression.Alan H. Goldman - 1996 - Philosophical Quarterly 46 (185):533-535.
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  • Varieties of musical experience.Jamshed J. Bharucha, Meagan Curtis & Kaivon Paroo - 2006 - Cognition 100 (1):131-172.
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  • Pleasure.Leonard D. Katz - 2008 - Stanford Encyclopedia of Philosophy.
    Pleasure, in the inclusive usages most important in moral psychology, ethical theory, and the studies of mind, includes all joy and gladness — all our feeling good, or happy. It is often contrasted with similarly inclusive pain, or suffering, which is similarly thought of as including all our feeling bad. Contemporary psychology similarly distinguishes between positive affect and negative affect.[1..
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  • Music Alone: Philosophical Reflections on the Purely Musical Experience.Roger Scruton - 1994 - Philosophical Quarterly 44 (177):503-518.
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  • Cortical coordination dynamics and cognition.Steven L. Bressler & J. A. Scott Kelso - 2001 - Trends in Cognitive Sciences 5 (1):26-36.
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  • Music Alone: Philosophical Reflections on the Purely Musical Experience.Douglas Dempster - 1991 - Journal of Aesthetics and Art Criticism 49 (4):381-383.
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  • (1 other version)Music and negative emotion.Jerrold Levinson - 1997 - In Jenefer Robinson (ed.), Music & meaning. Ithaca [N.Y.]: Cornell University Press. pp. 327.
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  • Musical Meaning and Expression.Jenefer Robinson - 1996 - Journal of Aesthetics and Art Criticism 54 (3):307-309.
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