Cross-cultural musical expressiveness: Theory and the empirical programme

In sections I-VII of this chapter I outline the theoretical background for a research programme considering whether the expressiveness of a culture’s music can be recognised by people from different musical cultures, that is, by people whose music is syntactically and structurally distinct from that of the target culture. In sections VIII-IX, I examine and assess the cross-cultural studies that have been undertaken by psychologists. Most of these studies are compromised by methodological inadequacies.
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