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From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions.

Patrik N. Juslin
- 01 Sep 2013 - 
- Vol. 10, Iss: 3, pp 235-266
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TLDR
An updated and expanded version of the multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms is offered, with the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical 'appreciation emotions' such as admiration and awe.
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This article is published in Physics of Life Reviews.The article was published on 2013-09-01 and is currently open access. It has received 423 citations till now. The article focuses on the topics: Aesthetic emotions & Music and emotion.

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Brain correlates of music-evoked emotions

TL;DR: Functional neuroimaging studies on music and emotion show that music can modulate activity in brain structures that are known to be crucially involved in emotion, such as the amygdala, nucleus accumbens, hypothalamus, hippocampus, insula, cingulate cortex and orbitofrontal cortex.
Journal ArticleDOI

A conceptual framework for the neurobiological study of resilience

TL;DR: This work proposes a unified theoretical framework for the neuroscientific study of general resilience mechanisms and posits that a positive (non-negative) appraisal style is the key mechanism that protects against the detrimental effects of stress and mediates the effects of other known resilience factors.
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Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode – Developments and challenges in empirical aesthetics

TL;DR: The current state of the descriptive information-processing model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics are reviewed.
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Predictions and the brain: how musical sounds become rewarding

TL;DR: This work builds on previous theoretical models that emphasize the role of prediction in music appreciation by integrating these ideas with recent neuroscientific evidence to summarize how complex cognitive abilities and cortical processes integrate with fundamental subcortical reward and motivation systems in the brain to give rise to musical pleasure.
References
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Book

The originality of the avant-garde and other modernist myths

TL;DR: Krauss as mentioned in this paper explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde.
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Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training.

TL;DR: The overall set of data highlights that some musical capacities are acquired through exposure to music without the help of explicit training and reach such a degree of sophistication that they enable untrained listeners to respond to music as "musically experienced listeners" do.
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Cognitive approaches to posttraumatic stress disorder: the evolution of multirepresentational theorizing.

TL;DR: It is proposed that at least 3 separate representational elements-associative networks, verbal/propositional representations, and schemas-are required to generate a comprehensive cognitive theory of PTSD.
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Cue utilization in communication of emotion in music performance: relating performance to perception.

TL;DR: This study describes the utilization of acoustic cues in communication of emotions in music performance and indicated that performers were successful at communicating emotions to listeners, performers' cue utilization was well matched to listeners' cues, and cues utilization was more consistent across different melodies than across different performers.
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Hearing in the mind's ear: A pet investigation of musical imagery and perception

TL;DR: Both perceiving and imagining songs are associated with bilateral neuronal activity in the secondary auditory cortices, suggesting that processes within these regions underlie the phenomenological impression of imagined sounds.
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