The Oxford handbook of music psychology

By S. Hallam, Ian Cross, Michael H. Thaut. 2011

764 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Social Psychology

View Paper: https://www.semanticscholar.org/paper/1ca3963e643a3834528bd6ea2021d03101f4bd38

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Cognitive Neuroscience

In Music

In Social Psychology

Citations in the corpus

Who enjoys listening to sad music and why (2012, background): “However, it should be noted that aesthetic responses are highly subjective (for a recent discussion on aesthetic responses to music, see Huron, 2009), and thus it is possible that only some people find sad music beautiful, or scary music ugly.”
University students’ strong experiences of music (2011, background): “…experiments have shown how manipulating musical stimuli can induce different emotional responses in listeners (Lundqvist, Carlsson, Hilmersson, & Juslin, 2009; Steinbeis, Koelsch, & Sloboda, 2006; Zentner, Grandjean, & Scherer, 2008), and music is used as a powerful means of mood induction in a…”
Self-determined motivation for practice in university music students (2016, background): “Practice is a skill that students must hone without much substantial guidance, because in studio lessons, technique and repertoire tend to be prioritised, and little instructional time is devoted to the structure and strategy of practice (Jørgensen, 2009).”
Applying self-regulated learning microanalysis to study musicians’ practice (2019, background): “Much of this literature focuses on the behaviours of musicians and the efficacy of differing techniques that are employed during practice sessions (Jørgensen & Hallam, 2016; Lehmann & Jørgensen, 2012).”
Emotional reactions to music in a nationally representative sample of Swedish adults (2011, background): “Furthermore, there is preliminary evidence for a synchronization among the various response components (Lundqvist, Carlsson, Hilmersson, & Juslin, 2009), similar to that which has been found in non-musical emotion research (Mauss, Levenson, McCarter, Wilhelm, & Gross, 2005).”
Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “Kastner, Pinchot, and Crowder (1990) have shown that young children correctly mapped major music on the happy scale and minor music on the sad scale, whether innately or as a result of evaluative conditioning through exposure to the music of their native culture (Juslin, 2009).”
Emotion regulation strategy mediates both positive and negative relationships between music uses and well-being (2014, background): “As noted by Juslin (2009), a specific type of psychological state, such as being in a composed state of attention or absorption, is required for optimal music performance.”