Music and the Emotions: The Philosophical Theories

By M. Budd. 2002

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The neuroaesthetics of music. (2013, background): “, expected) piece of music (Budd, 1985)? From a psychological perspective, there appears to be a difference between veridical expectations based on explicit knowledge of a work, and schematic expectations based on years of implicit learning through exposure (Bharucha, 1987).”
“Expressivity comes from within your soul”: A questionnaire study of music students' perspectives on expressivity (2003, background): “ne of the fundamental themes in the study of music and its performance is that music is heard as expressive by listeners (Budd, 1985; Davies, 2001; Juslin, 2001).”
Philosophical perspectives on music's expressiveness (2001, background): “The thesis that, in hearing expressiveness in music, we sometimes imagine a persona who is subject to a narrative that unfolds in the music, is widely supported (Budd, 1985; Vermazen, 1986; Walton, 1988, 1990; Karl & Robinson, 1995; Ridley, 1995).”
Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, background): “…approach to obtain stronger evidence of their causal role in musical emotions.1 Music has been linked to emotions since ancient Greece (e.g., Budd, 1985), and modern studies confirm that people commonly listen to music to achieve various emotional outcomes (e.g., Juslin, Liljeström, Laukka,…”