Handbook of Music and Emotion: Theory, Research, Applications

By Patrik Juslin, John A. Sloboda. 2011

816 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/841354e2be279e84fcbdc5f018676e2ab9848fb3

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In Cognitive Neuroscience

Citations in the corpus

The functions of music for affect regulation (2011, background): “However, the creation of another world (Gabrielsson, 2010) and the music-related and unrelated activities which were found in the current study are not present in the lists of mechanisms presented by Juslin and colleagues (e.g., Juslin & Västfjäll, 2008).”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “Thus, Table 1 offers a set of ‘working definitions’ of key terms, from the Handbook of Music and Emotion (Juslin & Sloboda, 2010, Ch. 1), which will be adopted in the present review.”
University students’ strong experiences of music (2011, background): “(The invocation of the limbic system does not always imply hedonic mechanisms, however, as fear may also be evoked in such a sub-cortical manner; see Gosselin, Peretz, Johnsen, & Adolphs, 2007; Peretz, 2010).”
Single chords convey distinct emotional qualities to both naïve and expert listeners (2016, background): “…the role of different musical factors in creating emotional meaning in music such as tempo, mode, articulation (e.g., Gabrielsson & Lindström, 2010; Gagnon & Peretz, 2003; Juslin & Sloboda, 2010a; Webster & Weir, 2005), but the role of vertical harmony has been rather neglected in such studies.”
Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “In broad terms, music is thought to evoke emotions via its structural properties (e.g., tempo) or people’s associations with music (Juslin & Sloboda, 2010).”
Enhancing wellbeing: An emerging model of the adaptive functions of music listening (2016, background): “Furthermore, contrary to reports that affect regulation is the most important function of music listening (Juslin & Sloboda, 2010) results of the current study highlight that affect regulation is considered as a secondary outcome of music listening that is enhanced by other music listening…”
Musical imagination: Perception and production, beauty and creativity (2012, background): “Hargreaves and North (2010) have written a comprehensive review of research on the experimental aesthetics of music which covers not only research on the properties of the music itself, but also that which takes the contrasting view that ‘beauty is in the eye of the beholder’, or, in the case of…”
The role of music in adolescent development: much more than the same old song (2013, background): “…of research also contributes to our understanding of how musical emotions interact with key psychological phenomena (e.g. cognitions, aesthetics, motivation, performance, creativity, personality, social behaviours, health, and cross-cultural similarities and differences; Juslin & Sloboda, 2010).”
Emotional reactions to music in a nationally representative sample of Swedish adults (2011, background): “‘Musical emotions’ is used here simply as a short term for ‘emotions that were evoked by music’ (see Juslin & Sloboda, 2010, Table 1.2).”
Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, background): “…social psychology of music (Hargreaves & North, 1997), which moved the field of music psychology away from the typical 1980s paradigm of laboratorybased experiments to a broader exploration of the manifold ways in which music is used and experienced in daily life (Juslin & Sloboda, 2010, p. 934).”