Handbook of Music and Emotion: Theory, Research, Applications (Series in Affective Science) - Tapa dura

"The foregoing scope for the psychology of music has now been vastly augemented by the publication of The Handbook of Music and Emotion...From the Overture to Encore sections, this scholarly tome establishes a masterful level of science and scholarship to musical aspects that seem to signal a new age....This book is not just for musicians; it is a comprehensive work that should be of interest and useful to all psychologists."--Robert Henley Woody (II), Professor of Psychology, University of Nebraska at Omaha "The Handbook of Music and Emotion seems to certify the legitimacy of blending psychology and music, with emotion providing the unifying consonance. Moreover, the specialty of the psychology of music has been expanded, with implications for training in both music and psychology. This book is not just for musicians; it is a comprehensive work that should be of interest and useful to all psychologists." --PsycCRITIQUES

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.