https://schererstefan.net/assets/files/papers/1-s2.0-S0167639315000369-main.pdf

A review of depression and suicide risk assessment using speech analysis

It is an ancient, and very pervasive, idea that music expresses emotion. Apart from the copious literature to this effect contributed by composers, musicologists, and philosophers, there is also solid empirical evidence from psychological research, reviewed in chapters of this book (e.g. Gabrielsson & Lindstrom, this volume; Juslin, this volume), that listeners often agree rather strongly about what type of emotion is expressed in a particular piece. It is also a pervasive belief that music can, at times, actually produce emotion in listeners. The distinction between perception and production is related to the distinction between cognitivism and emotivism proposed by philosophers in their analysis of emotion in music (e.g. Kivy 1989). Whereas 'emotivists' hold that music elicits real emotional responses in listeners, 'cognitivists' argue that music simply expresses or represents emotions. Our view is that it would be premature to prejudge the issue and that both positions may be perfectly appropriate depending on a number of factors outlined below. Our purpose in this chapter is to provide a formalization of the processes whereby music produces emotional effects in the listener that go beyond the cognitive inference of what the music can be said to express. In addition, we review the pertinent evidence to date and suggest ways in which future research might investigate these processes in a systematic fashion. We state at the outset that our discussion and the review of the available evidence are largely based on Western classical music, thereby restricting the generalizability of our claims to other kinds of music and other cultures. Our attempt at a formalization of emotional effects of music will consist in defining the affective changes that music is supposed to produce in the listener and to identify the determinants of the listening situation (features such as the musical structure of the piece listened to, the interpretation by the performer, relevant state and trait characteristics of the listener, and the respective context). An important issue for discussion will be the relative weighting of the different determinants and the type of their interaction in producing the affective outcome. We follow the senior author's attempt to define the emotional meaning of music in analogy to Buhler's Organon model of language, postulating composition, expression, perception, and production rules to model the different facets of emotional meaning (Scherer, 2000d). In this context, the term rule is used to denote a certain regularity or lawfulness of the effects discussed that can be expressed in concrete predictions or hypotheses. It is not excluded that these rules can be integrated into attempts at computational modelling of the underlying mechanisms (in fact, we consider this a highly desirable option), but we do not feel that the current state of the

/pdf/emotional-effects-of-music-production-rules-57whjrdhcq.pdf

Emotional effects of music: production rules

Music is an increasingly prominent and expensive feature of broadcast ads, yet its effects on message reception are controversial. The authors propose and test a contingency that may help resolve t...

/pdf/the-effect-of-background-music-on-ad-processing-a-usiepdxtwp.pdf

The effect of background music on ad processing: A contingency explanation

Improvement in perceptual judgments as a function of controlled practice or training.

http://musicianbrain.com/papers/Norton_Brain_Cognition2005.pdf

Are there pre-existing neural, cognitive, or motoric markers for musical ability?

THE value of this book can hardly be overestimated. It is not too much to say that it is the most important book yet published for the enlightenment and guidance of teachers and supervisors of public school music. For all of these have studied psychology —and tucked it away in one corner of their minds—and all have studied music. Ordinarily, after that, the prospects are that \"never the twain shall meet\"; but now comes this book, and makes it possible and probable, not only that the twain shall meet, but that they shall be blended into one indivisible organism. The work is very thoroughly and discerningly done. It is not the somewhat inorganic work of a psychologist plus a musician, but the much more desirable work of a psychologist-musician working with a musician-psychologist. Each of the authors knew the other's field to so great an extent that disarticulation was impossible. Research studies in musical psychology are adduced, but in the end the implicit musical knowledge, discernment and taste of the musicianteacher are accepted as the court of last appeal. The work is fully documented, and a copious bibliography points the way to further amplification of study on the part of the progressive teacher. All essentials and, indeed, the bulk of all that every music teacher should know, within the territory covered, are, however, present in this one volume. It is a book of modern thought, modern practice, authoritative counsel, and happy portent. We owe Dr. Mursell and Miss Glenn a debt of gratitude for i t .—WILL EARHART.

Speech and Voice

History of Public School Music: Mr. Birge's Book and Some Reflections@@@History of Public School Music in the United States

The Meaning of Music

Music, the Universal Language

HE music is selected and arranged for junior high school pupils. It is beautifully adapted to its field, as might be expected in view of the wide knowledge and experience of its editors. The worth of the music, in distinction to its appropriateness of content and arrangement, is also high. But over and above these qualities, which every book of music for schools should possess, a book may reveal special predilections as to the styles, periods, or nationalities of music selected, and may embody special features of educational thought and practice; and it is precisely in connection with these further characteristics that this challenges our attention, for it is prodigal in the number of unusual features it presents. Recurring to the music, one observes with pleasure a large number of American folk songs--cowboy songs, spirituals, Foster songs, and others,-and that all the songs, from whatever source, have been considered further with a view to their adaptation to integration with other subjects. Specific aid to the teacher toward such integration is given. Units of work have been well organized; pictograph maps of Central Europe and Latin America are included; another section contains eight short plays that utilize the songs of the respective units; a condensed review of rudiments is provided; special phonographic recordings of folk songs performed by native singers are available; music and art are correlated. Below a song, too, on the lower margin of the page, are frequent \"Tone Blending Drills\" (chords that bear their Roman numeral designations), condensed analyses of modulation that may have occurred, forms of the minor scale used in the song, etc. Directions for dances (in connection with a dance song) find place, and a glossary of musical terms is given. If the reader thinks of anything not mentioned here, he may safely assume an oversight by the reviewer but not an omission from the book. This description may give the impression that the book is faddish-but the straight musical content was sought first, and all these things were added unto it.-Will Earhart.

Will Earhart

Papers

Speech and Voice

History of Public School Music: Mr. Birge's Book and Some Reflections@@@History of Public School Music in the United States

The Meaning of Music

Music, the Universal Language

Essays in Musical Analysis, Volume III