Effect of tempo and dynamics on the perception of emotion in music.

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Emotion expression in speech and music.

This chapter presents a research project devoted specifically to studyingthe underlying mechanisms responsible for induction of emotion throughmusic listening. It describes a research strategy, a novel theoreticalframework, and preliminary findings from ongoing studies that exploreunderlying mechanisms. It discusses the implications of this work forother issues in the field of musical emotions. The early parts of thechapter review findings about the prevalence of musical emotions,because a first step in developing a framework is to know what phenomenathe framework is supposed to explain. The latter parts present a unifiedtheoretical framework that can explain these prevalence findings interms of seven distinct mechanisms, besides cognitive appraisal. Thiswill illustrate the role of psychological theory in telling researcherswhere to look for ‘clues’ in their quest tounravel the mystery of emotional responses to music.

Meyer's Emotion and meaning in music: a sympathetic critique of its central claims.

Music structure and emotional response:Some empirical findings.

Of the several dozen on record that I'­ve heard, the oldest ones tend to exemplify the sheer emotion that Beethoven poured into this music and the sense of freedom that he reportedly brought to his own performance style.

A developmental study of children's interpretation of emotion in music.

For example, according to The Economist Newspaper, "Music with a rapid tempo, and written in a major key, correlated [with] the induction of happiness.

Enjoyment of negative emotions in music: An associative network explanation.


Music and the Emotions: The Philosophical Theories.

I play piano and guitar too. But I don't have any music teacher, so I learned it by my self. But, I feel little bit hard for me for going professional. Hehee.. But I love to play "kentrung" too.. That's really funny:)

Why listen to sad music if it makes one feel sad?

Hi Nyssandre. It must be difficult to find the time to practise an instrument as well as your studies, so good luck with it. Maybe you can have a quick practice session every morning before you go to college, or in the evening before you go to bed. It's great that you can play one instrument already. If you are thinking about taking up a new instrument, we have some more advice . Thanks for your comment!
Jonathan (LearnEnglish Teens Team)

Emotions and music: A reply to the cognitivists.

Music and art are just two of the many forms of creative alternative therapies that are available to seniors in most areas, including Kingston-Waterloo-Cambridge. Through researching and exploring the various options that exist, you will surely be able to find something that can contribute positively to the health and well-being of your loved one that is not solely based on medicine. Having the opportunity to engage with creative or unique outlets of expression and exploration can be incredibly meaningful for seniors, and the impact that is made upon how they feel can extend to many areas of their lives, including how they see themselves, and how they interact with others in a broader context.

The expression and arousal of emotion in music.

The final variation is a return to the humble opening,adding only a hint of impatience by omitting the repeats of each phrase, complete with soothing harmonization, and leading to a full final d-flat major cadence. But instead of the final note toward which the entire movement has been inexorably pointing, instead we get a soft, rolled diminished seventh chord, loudly repeated, that thoroughly destroys the tonality, followed by an insistent fanfare on a repeated sour chord, which then plunges into the finale, an aggressive, that renews the snarling energy of the opening, but now propelled with unrelenting drive and spiked with eruptions of sharp, nervous counter-notes. It is worth recalling how Beethoven conceived this theme. According to his friend Ferdinand Ries, Beethoven conceived the finale while they took a long walk together, during which he hummed and howled inchoate runs of notes, and then upon returning home he rushed to the keyboard and improvised for a solid hour to shape the theme. While this method would prove frustrating to later scholars trying to trace Beethoven'­s creative process, Barry Cooper observed that it was more efficient than trying to work out variants on paper, as Beethoven often did in his musical sketchbooks.