Exploring the Musical Mind: Cognition, Emotion, Ability, Function

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Emotional and psychophysiological responses to tempo, mode, and percussiveness (2011, background): “First of all, expectancy violations within the melody of music will induce surprise, and eventually increase arousal when many such expectancy violations occur (Deliège & Sloboda, 1997; Sloboda, 2005; Steinbeis et al., 2006).”
I'd like to Teach the World to Sing: Music and Conflict Transformation (2007, background): “20 A complete discussion on music and emotions is not possible here; for a number of discussions see (Meyer 1956; Sloboda 2005; Becker 2001; DeNora 2001; Gabrielson 2001; Juslin & Sloboda 2001; Krumhansl 1997; Balkwill 1997; Levitin 2006; Robinson 1994; Altenmuller et al. 2002; Unwin et al. 2002).”
Towards a model of talent development in physical education (2006, unknown): “…then, that elite adult performers in some domains, especially art and music, are often suspicious of formal education (Goertzel and Goertzel, 2004; Sloboda, 2005), believing such teaching to be unnecessary for the development of an individual’s talent, and potentially destructive of their talent…”