Well-being : the foundations of hedonic psychology

Part 1. Interdisciplinary Foundations. R.C. Solomon, The Philosophy of Emotions. P.N. Stearns, History of Emotions: Issues of Change and Impact. J.E. Stets, J.H. Turner, The Sociology of Emotions. J. Panksepp, The Affective Brain and Core Consciousness: How Does Neural Activity Generate Emotional Feelings? N.H. Frijda, The Psychologist's Point of View. L.S. Greenberg, The Clinical Application of Emotion in Psychotherapy. P.N. Johnson-Laird, K. Oatley, Emotions, Music, and Literature. J. Tooby, L. Cosmides, The Evolutionary Psychology of the Emotions and Their Relationship to Internal Regulatory Variables. R. Loewenstein, G. Loewenstein, The Role of Emotion in Economic Behavior. Part 2. Biological and Neurophysiological Approaches to Emotion. J.E. LeDoux, E.A. Phelps, Emotional Networks in the Brain. J.T. Larsen, G.G. Berntson, K.M. Poehlmann, T.A. Ito, J.T. Cacioppo, The Psychophysiology of Emotion. J. Bachorowski, M.J. Owren, Vocal Expressions of Emotion. D. Matsumoto, D. Keltner, M.N. Shiota, M. O'Sullivan, M. Frank, Facial Expressions of Emotion. J.M. Haviland-Jones, P.J. Wilson, A "Nose" for Emotion: Emotional Information and Challenges in Odors and Semiochemicals. T.D. Wager, L. Feldman Barrett, E. Bliss-Moreau, K. Lindquist, S. Duncan, H. Kober, J. Joseph, M. Davidson, J. Mize, The Neuroimaging of Emotion. A.D. Craig, Interoception and Emotion: A Neuroanatomical Perspective. Part 3. Developmental Changes. L.A. Camras, S.S. Fatani, The Development of Facial Expressions: Current Perspectives on Infant Emotions. M. Lewis, The Emergence of Human Emotions. P.L. Harris, Children's Understanding of Emotion. C. Saarni, The Interface of Emotional Development with Social Context. S.C. Widen, J.A. Russell, Young Children's Understanding of Others' Emotions. A.S. Walker-Andrews, Intermodal Emotional Processes in Infancy. C. Magai, Long-Lived Emotions: A Lifecourse Perspective on Emotional Development. Part 4. Social Perspectives. L.R. Brody, J.A. Hall, Gender and Emotion in Context. R.A. Shweder, J. Haidt, R. Horton, C. Joseph, The Cultural Psychology of the Emotions: Ancient and Renewed. E.R. Smith, D.M. Mackie, Intergroup Emotions. M.L. Hoffman, Empathy and Prosocial Behavior. A.H. Fischer, A.S.R. Manstead, Social Functions of Emotion. Part 5. Personality Issues. R.E. Lucas, E. Diener, Subjective Well-Being. J.E. Bates, J.A. Goodnight, J.E. Fite, Temperament and Emotion. J.J. Gross, Emotion Regulation. K.A. Lindquist, L. Feldman Barrett, Emotional Complexity. Part 6. Cognitive Factors. P. Salovey, B.T. Detweiler-Bedell, J.B. Detweiler-Bedell, J.D. Mayer, Emotional Intelligence. A.M. Isen, Some Ways in which Positive Affect Influences Decision Making and Problem Solving. N.L. Stein, M.W. Hernandez, T. Trabasso, Advances in Modeling Emotion and Thought: The Importance of Development, On-Line and Multilevel Analyses. P.M. Niedenthal, Emotion Concepts. E.A. Kensinger, D.L. Schacter, Memory and Emotion. M. Minsky, A Framework for Representing Emotional States. G.L. Clore, A. Ortony, Appraisal Theories: How Cognition Shapes Affect into Emotion. Part 7. Health and Emotions. M.A. Diefenbach, S.M. Miller, M. Porter, E. Peters, M. Stefanek, H. Leventhal, Emotions and Health Behavior: A Self-Regulation Perspective. M.E. Kemeny, A. Shestyuk, Emotions, the Neuroendocrine and Immune Systems, and Health. N.S. Consedine, Emotions and Health. A.M. Kring, Emotion Disturbances as Transdiagnostic Processes in Psychopathology. Part 8. Select Emotions. A. Ohman, Fear and Anxiety: Overlaps and Dissociations. E.A. Lemerise, K.A. Dodge, The Development of Anger and Hostile Interactions. M. Lewis, Self-Conscious Emotions: Embarrassment, Pride, Shame, and Guilt. P. Rozin, J. Haidt, C.R. McCauley, Disgust. B.L. Fredrickson, M.A. Cohn, Positive Emotions. G.A. Bonanno, L. Goorin, K.G. Coifman, Sadness and Grief.

Handbook of Emotions

Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to adaptive success. This target article critically examines this "hierarchical prediction machine" approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency.

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Whatever next? Predictive brains, situated agents, and the future of cognitive science

Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.

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Communication of emotions in vocal expression and music performance: different channels, same code?

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

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Emotional responses to music: The need to consider underlying mechanisms

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."-David Kraehenbuehl, "Journal of Music Theory" "This is the best study of its kind to have come to the attention of this reviewer."-Jules Wolffers, "The Christian Science Monitor " "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."-David P. McAllester, "American Anthropologist " "A book which should be read by all who want deeper insights into music listening, performing, and composing."-Marcus G. Raskin, "Chicago Review "

Emotion and Meaning in Music

In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work. "This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."-"New York Times Book Review" "When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."-"Notes" ." . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."-"Journal of Music Theory" The late GROSVENOR W. COOPER, author of "Learning to Listen," was professor of music at the University of California at Santa Cruz.

The Rhythmic Structure of Music.

Preface Pt. I: Theory 1: Toward a Theory of Style 2: Style Analysis Pt. II: History, Innovation, and Choice 3: Thoughts Ahout History 4: Innovation - Reasons and Sources 5: Choice and Replication Pt. III: Music and Ideology: A Sketch-History of Nineteenth-Century Music 6: Romanticism - The Ideology of Elite Egalitarians 7: Convention Disguised - Nature Affirmed 8: Syntax, Form, and Unity Epilogue: The Persistence of Romanticism Bibliography of Works Cited Index Index of Musical Examples

Leonard B. Meyer

Papers

Emotion and Meaning in Music

The Rhythmic Structure of Music.

Style and Music: Theory, History, and Ideology

Explaining Music: Essays and Explorations

Meaning in music and information theory.