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  1. Imants Baruss & M. Wammes (2009). Characteristics of Spontaneous Musical Imagery. Journal of Consciousness Studies 16 (1):37-61.
    This study follows upon Steven Brown's 2006 article in The Journal of Consciousness Studies about the ‘perpetual music track', a form of constant musical imagery. With Brown's assistance, a Musical Imagery Questionnaire was developed. The questionnaire was then administered to 67 participants with the intention of establishing relevant scales for quantifying the presence and extent of spontaneous musical imagery in individuals. In addition to the Musical Imagery Questionnaire, the Six Factor Personality Questionnaire, as well as the Transliminality Scale, which is (...)
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  2. Steven Brown (2006). The Perpetual Music Track: The Phenomenon of Constant Musical Imagery. Journal of Consciousness Studies 13 (6):43-62.
    The perpetual music track is a new concept that describes a condition of constant or near-constant musical imagery. This condition appears to be very rare even among composers and musicians. I present here a detailed self-analysis of musical imagery for the purpose of defining the psychological features of a perpetual music track. I have music running through my head almost constantly during waking hours, consisting of a combination of recently-heard pieces and distant pieces that spontaneously pop into the head. (...)
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Music and Emotion
  1. Bruce Adolphe (1999). Of Mozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind. Limelight Editions.
    The exhilarating mix of humor, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over most of the ...
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  2. Patricia V. Agostino, Guy Peryer & Warren H. Meck (2008). How Music Fills Our Emotions and Helps Us Keep Time. Behavioral and Brain Sciences 31 (5):575-576.
    Whether and how music is involved in evoking emotions is a matter of considerable debate. In the target article, Juslin & Vll (J&V) argue that music induces a wide range of both basic and complex emotions that are shared with other stimuli. If such a link exists, it would provide a common basis for considering the interactions among music, emotion, timing, and time perception.
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  3. Lars-Olof Åhlberg (1994). Susanne Langer on Representation and Emotion in Music. British Journal of Aesthetics 34 (1):69-80.
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  4. Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
    Musical Perceptions is a much-needed text that introduces students of both music and psychology to the study of music perception and cognition. Because the book aims to foster a closer interaction between research in the science and the art of music, both psychologists and musicians contribute chapters on a wide range of topics, including the philosophy of music; research in musical performance; perception of melody, tonality, and rhythm; pedagogical issues; language and music; and neural networks. With their unique ability to (...)
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  5. Gerhard Albersheim (1960). The Sense of Space in Tonal and Atonal Music. Journal of Aesthetics and Art Criticism 19 (1):17-30.
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  6. R. T. Allen (1990). The Arousal and Expression of Emotion by Music. British Journal of Aesthetics 30 (1):57-61.
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  7. Leo Apostel, Herman Sabbe & Fernand J. Vandamme (eds.) (1986). Reason, Emotion, and Music: Towards a Common Structure for Arts, Sciences, and Philosophies, Based on a Conceptual Framework for the Description of Music. Communication & Cognition.
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  8. Claire Armon-Jones (1991). Varieties of Affect. University of Toronto Press.
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  9. Philip Ball (2010). The Music Instinct: How Music Works and Why We Can't Do Without It. Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
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  10. Albert Balz (1914). Music and Emotion. Journal of Philosophy, Psychology and Scientific Methods 11 (9):236-244.
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  11. Christopher Bartel (2010). Why Music Moves Us - Jeanette Bicknell. [REVIEW] Journal of Aesthetics and Art Criticism 68 (3):317-319.
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  12. Alexander Becker & Matthias Vogel (eds.) (2007). Musikalischer Sinn: Beiträge Zu Einer Philosophie der Musik. Suhrkamp.
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  13. Harris M. Berger (2009). Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture. Wesleyan University Press.
    Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.
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  14. Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) (2005). Music and the Aesthetics of Modernity: Essays. Distributed by Harvard University Press.
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  15. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
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  16. Jeanette Bicknell (2007). Explaining Strong Emotional Responses to Music:. Journal of Consciousness Studies 14 (12):5-23.
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  17. Daniela Lenti Boero & Luciana Bottoni (2008). Why We Experience Musical Emotions: Intrinsic Musicality in an Evolutionary Perspective. Behavioral and Brain Sciences 31 (5):585-586.
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  18. Paul Boghossian (2007). Explaining Musical Experience. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    1. I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to (...)
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  19. Malcolm Budd (2005). Aesthetic Realism and Emotional Qualities of Music. British Journal of Aesthetics 45 (2):111-122.
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
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  20. Malcolm Budd (1989). Music and the Communication of Emotion. Journal of Aesthetics and Art Criticism 47 (2):129-138.
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  21. Malcolm Budd (1987). Motion and Emotion in Music: A Reply. British Journal of Aesthetics 27 (1):51-54.
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  22. Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
    The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the ...
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  23. Malcolm Budd (1983). Motion and Emotion in Music: How Music Sounds. British Journal of Aesthetics 23 (3):209-221.
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  24. Malcolm Budd (1980). The Repudiation of Emotion: Hanslick on Music. British Journal of Aesthetics 20 (1):29-43.
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  25. David Carr (2004). Music, Meaning, and Emotion. Journal of Aesthetics and Art Criticism 62 (3):225–234.
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  26. Tom Cochrane (2009). Joint Attention to Music. British Journal of Aesthetics 49 (1):59-73.
    This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...)
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  27. Tom Cochrane (2010). A Simulation Theory of Musical Expressivity. Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
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  28. Tom Cochrane (2010). Music, Emotions and the Influence of the Cognitive Sciences. Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
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  29. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
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  30. Tom Cochrane (2008). Expression and Extended Cognition. Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
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  31. David E. Cooper (2009). Music, Education, and the Emotions. Journal of Chinese Philosophy 36 (4):642-652.
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  32. S. Davies (2003). Philosophy, Music and Emotion. Australasian Journal of Philosophy 81 (2):281-283.
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
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  33. S. Davies (1980). The Expression of Emotion in Music. Mind 89 (353):67-86.
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  34. Stephen Davies (2011). Infectious Music: Music-Listener Emotional Contagion. In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
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  35. Stephen Davies (2006). Artistic Expression and the Hard Case of Pure Music. In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell Publishing.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
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  36. Stephen Davies (1983). Is Music a Language of the Emotions? British Journal of Aesthetics 23 (3):222-233.
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  37. M. de Bellis (2010). The Musical Representation: Meaning, Ontology, and Emotion, by Charles O. Nussbaum. Mind 119 (473):225-228.
    (No abstract is available for this citation).
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  38. A. E. Denham (2009). The Future of Tonality. British Journal of Aesthetics 49 (4):427-450.
    Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...)
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  39. Curtis Fogel (2008). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Minds and Machines 18 (2):289-292.
  40. Albert Gehring (1903). The Expression of Emotions in Music. Philosophical Review 12 (4):412-429.
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  41. John Gibson & Noel Carroll (eds.) (2011). Narrative, Emotion, and Insight. Penn State UP.
    While narrative has been one of liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The book (...)
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  42. Alan Goldman (1995). Emotions in Music (a Postscript). Journal of Aesthetics and Art Criticism 53 (1):59-69.
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  43. Forest Hansen (2004). Response to Kingsley Price, "How Can Music Seem to Be Emotional&Quot. Philosophy of Music Education Review 12 (1):76-79.
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  44. James Harold (2007). Review of Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Notre Dame Philosophical Reviews 2007 (6).
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  45. Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  46. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..
    Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...)
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  47. Peter Kivy (1999). Feeling the Musical Emotions. British Journal of Aesthetics 39 (1):1-13.
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  48. Peter Kivy (1995). Stephen Davies: Musical Meaning and Expression. Mind 104 (416):896-900.
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