Emotion and Meaning in Music

By W. Dowling. 2008

1,252 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/41d020ff68a8429f1810724ad6482d86c0a3a8bf

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Citations in the corpus

Music and Stress (2011, background): “Meyer (1956) proposes that these two opposing attitudes actually coexist.”
Popular music education in and for itself, and for ‘other’ music: current research in the classroom (2006, background): “It is devoid of concepts or content in relation to the world ‘outside’ the music, but is a purely logical, or theoretical zone contained, or ‘embodied’ within the musical materials (Meyer, 1956).”
Emotion perceived and emotion felt: Same and different (2006, neutral): “Meyer, L. B. (1956).”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, background): “extra-musical associations [3], and ensure that the music was”
What makes music emotionally significant? Exploring the underlying mechanisms (2014, background): “Musical expectancy refers to a process whereby an emotion is evoked when a specific feature of the music violates, delays, or confirms a listener’s schematic expectations about the continuation of the music, as famously theorized by Leonard Meyer (1956).”
The emergence of music from the Theory of Mind (2009, background): “Further, that performance gestures reflected musical phrasing and increased the experience of musical tension - a core property of musical emotionality (Lerdahl & Krumhansl, 2007; Meyer, 1956).”
Single chords convey distinct emotional qualities to both naïve and expert listeners (2016, background): “In regard to emotional qualities conveyed by harmony’s vertical dimension, the emphasis has mainly been theoretical (e.g., Cooke, 1959; Meyer, 1956) without empirical support.”
Being Together in Time: Musical Experience and the Mirror Neuron System (2009, background): “It might appear that this proposal contradicts the classic theory of musical expectancy, which suggests that emotional responses occur to unexpected features in music (Juslin, 2001; Steinbeis, Koelsch, & Sloboda, 2006; Meyer, 1956).”
It is all in the mix: The interactive effect of music tempo and mode on in-store sales (2012, background): “…systems are known and have been used by musicians across different times and cultures (e.g., pentatonic or atonal scales), the major and minor modes (featuring a major versus a minor third, respectively) have been the predominant tonal systems for several centuries in Western music (Meyer 1956).”
Musicality and the human capacity for culture (2008, background): “For the individual, music combines purposive action with indeterminacy of meaning or ambiguity that may allow disparate concepts or even conceptual realms to be experienced as integrated, perhaps in terms of what Meyer (1956) calls “connotative complexes”.”
Gender differences in the meanings consumers infer from music and other aesthetic stimuli (2010, background): “Embodiedmeaning is purely hedonic and can arise simply from the level of stimulation provoked by the music's structural properties, like its energy level (Dowling and Harwood 1986).”
The neuroaesthetics of music. (2013, background): “While some philosophers of aesthetics have embraced psychological and neuroscientific research (e.g., Carroll, Moore, & Seeley, 2011; Meyer, 1956; Robinson, 2005), others argue that neuroscience has nothing to tell us about aesthetic questions (e.”
EXPECTATION IN MELODY: THE INFLUENCE OF CONTEXT AND LEARNING (2006, methodology): “From a music-analytic perspective, it has been argued that the generation and subsequent confirmation or violation of expectations is critical to aesthetic experience, and the communication of emotion and meaning in music (Meyer, 1956; Narmour, 1990).”
The functions of music for affect regulation (2011, background): “However, existing research has not yet answered questions of how music regulates affect, especially beyond the expressive properties of music (Meyer, 1956).”
Current Emotion Research in Music Psychology (2015, background): “One view holds that the experience of emotion depends on whether culturally learned musical expectancies are fulfilled or violated (Huron, 2006; Meyer, 1956), which implies that listeners should exhibit biases favoring the music of their native culture.”