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  1.  43
    What are aesthetic emotions?Winfried Menninghaus, Valentin Wagner, Eugen Wassiliwizky, Ines Schindler, Julian Hanich, Thomas Jacobsen & Stefan Koelsch - 2019 - Psychological Review 126 (2):171-195.
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  2.  65
    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:e347.
    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 (apparent) 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, (...)
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  3.  20
    Toward a Neural Basis of Music Perception – A Review and Updated Model.Stefan Koelsch - 2011 - Frontier in Psychology 2.
  4.  70
    Toward a general psychological model of tension and suspense.Moritz Lehne & Stefan Koelsch - 2015 - Frontiers in Psychology 6:118396.
    Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...)
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  5.  31
    Aesthetic emotions are a key factor in aesthetic evaluation: Reply to Skov and Nadal (2020).Winfried Menninghaus, Ines Schindler, Valentin Wagner, Eugen Wassiliwizky, Julian Hanich, Thomas Jacobsen & Stefan Koelsch - 2020 - Psychological Review 127 (4):650-654.
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  6.  20
    Processing structure in music.Stefan Koelsch & Walter A. Siebel - 2005 - Trends in Cognitive Sciences 9 (12):578-584.
  7.  21
    Identifying Emotional Specificity in Complex Large-Scale Brain Networks.Stefan Koelsch - 2018 - Emotion Review 10 (3):217-218.
    The target article is well in accordance with recent theoretical advances considering the complex large-scale brain network organization underlying emotions. Given current limitations of the methods in brain science, however, research is faced with the difficult question as to how it will be possible to elucidate the complex nonlinear interactions, the neurotransmitters involved, and the excitatory or inhibitory nature of neural processes underlying human emotion in such networks. Moreover, while investigating the network properties of neural processes underlying emotions, it is (...)
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  8.  29
    Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40.
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  9. Functional neuroimaging.Stefan Koelsch, Walter A. Siebel & Thomas Fritz - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
  10.  70
    The role of semantic association and emotional contagion for the induction of emotion with music.Thomas Fritz & Stefan Koelsch - 2008 - Behavioral and Brain Sciences 31 (5):579-580.
    We suggest that semantic association may be a further mechanism by which music may elicit emotion. Furthermore, we note that emotional contagion is not always an immediate process requiring little prior information processing; rather, emotional contagion contributing to music processing may constitute a more complex decoding mechanism for information inherent in the music, which may be subject to a time course of activation.
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  11. Musik verstehen–Eine neurowissenschaftliche Perspektive.Stefan Koelsch & Tom Fritz - 2007 - In Alexander Becker & Matthias Vogel (eds.), Musikalischer Sinn: Beiträge zu einer Philosophie der Musik. Frankfurt am Main: Suhrkamp. pp. 251.
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  12.  19
    Response to target article 'Language, music, and the brain: a resource-sharing framework'.Stefan Koelsch - 2011 - In Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins & Ian Cross (eds.), Language and Music as Cognitive Systems. Oxford University Press. pp. 224.
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  13.  12
    Striking a chord in the brain: neurophysiological correlates of.Stefan Koelsch - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press. pp. 227.