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  1. The Emotions.Nico Frijda - 1986 - Cambridge University Press.
    What are 'emotions'? This book offers a balanced survey of facts and theory.
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  • Sweet Anticipation: Music and the Psychology of Expectation.William Benjamin - 2007 - Journal of Aesthetics and Art Criticism 65 (3):333-335.
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  • Cognitive, social, and physiological determinants of emotional state.Stanley Schachter & Jerome Singer - 1962 - Psychological Review 69 (5):379-399.
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  • Aesthetics and Psychobiology.D. E. Berlyne - 1973 - Journal of Aesthetics and Art Criticism 31 (4):553-553.
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  • Basic Emotions or Ur-Emotions?Nico H. Frijda & W. Gerrod Parrott - 2011 - Emotion Review 3 (4):406-415.
    This article sets out to replace the concept of basic emotions with the notion of “ur-emotions,” the functionally central underlying processes of action readiness, which are not emotions at all. We propose that what is basic and universal in emotions are not multicomponential syndromes, but states of action readiness, themselves variants of motive states to relate or not relate with the world and with oneself. Unlike emotions, ur-emotions can be held to be universal and biologically based.
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  • Emotion and meaning in music.Leonard B. Meyer - 1956 - [Chicago]: University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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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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  • 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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  • Emotion and Meaning in Music.Julius Portnoy - 1957 - Journal of Aesthetics and Art Criticism 16 (2):285-286.
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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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  • Core affect and the psychological construction of emotion.James A. Russell - 2003 - Psychological Review 110 (1):145-172.
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  • Towards a Cognitive Theory of Emotions.Keith Oatley & P. N. Johnson-Laird - 1987 - Cognition and Emotion 1 (1):29-50.
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  • (1 other version)Music and emotion: perceptual determinants, immediacy, and isolation after brain damage.I. Peretz - 1998 - Cognition 68 (2):111-141.
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  • Music evoked emotions are different–more often aesthetic than utilitarian.Klaus Scherer & Marcel Zentner - 2008 - Behavioral and Brain Sciences 31 (5):595-596.
    We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.
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  • Basic Emotions in Social Relationships, Reasoning, and Psychological Illnesses.Keith Oatley & Philip N. Johnson-Laird - 2011 - Emotion Review 3 (4):424-433.
    The communicative theory of emotions postulates that emotions are communications both within the brain and between individuals. Basic emotions owe their evolutionary origins to social mammals, and they enable human beings to use repertoires of mental resources appropriate to recurring and distinctive kinds of events. These emotions also enable them to cooperate with other individuals, to compete with them, and to disengage from them. The human system of emotions has also grafted onto basic emotions propositional contents about the cause of (...)
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