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  1. The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40:1-58.
    Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and (...)
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  • Current Emotion Research in Music Psychology.Swathi Swaminathan & E. Glenn Schellenberg - 2015 - Emotion Review 7 (2):189-197.
  • Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music.Laura Sizer - 2019 - Journal of Aesthetics and Art Criticism 77 (3):255-266.
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  • Music Evoked Emotions Are Different–More Often Aesthetic Than Utilitarian.Klaus Scherer & Marcel Zentner - 2008 - Behavioral and Brain Sciences 31 (5):595-596.
    We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.
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  • Metaphor and Music Emotion: Ancient Views and Future Directions.Alessia Pannese, Marc-André Rappaz & Didier Grandjean - 2016 - Consciousness and Cognition 44:61-71.
  • Emotional Responses to Music: The Need to Consider Underlying Mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...)
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  • The Eye is Listening: Music-Induced Arousal and Individual Differences Predict Pupillary Responses.Bruno Gingras, Manuela M. Marin, Estela Puig-Waldmüller & W. T. Fitch - 2015 - Frontiers in Human Neuroscience 9.
  • Modeling Music Emotion Judgments Using Machine Learning Methods.Naresh N. Vempala & Frank A. Russo - 2018 - Frontiers in Psychology 8.
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  • Evidence From Young Children Regarding Emotional Responses to Music.Steven John Holochwost & Carroll E. Izard - 2008 - Behavioral and Brain Sciences 31 (5):581-582.
    Juslin & Vll (J&V) propose a theoretical framework of how music may evoke an emotional response. This commentary presents results from a pilot study that employed young children as participants, and measured musically induced emotions through facial expressions. Preliminary findings support certain aspects of the proposed theoretical framework. The implications of these findings on future research employing the proposed framework are discussed.
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  • Microsaccade-Rate Indicates Absorption by Music Listening.Elke B. Lange, Fabian Zweck & Petra Sinn - 2017 - Consciousness and Cognition 55:59-78.
  • The Face of Fluency: Semantic Coherence Automatically Elicits a Specific Pattern of Facial Muscle Reactions.Sascha Topolinski, Katja U. Likowski, Peter Weyers & Fritz Strack - 2009 - Cognition and Emotion 23 (2):260-271.