- Title Pages
- Contributors
- Introduction
-
Chapter 1 Section introduction -
Chapter 2 Sad flowers -
Chapter 3 Composing the expressive qualities of music -
Chapter 4 The emotional power of musical performance -
Chapter 5 The singer’s paradox -
Chapter 6 On the resistance of the instrument -
Chapter 7 Gender ambivalence and the expression of passions in the performances of early Roman cantatas by castrati and female singers -
Chapter 8 The ethos of modes during the Renaissancei -
Chapter 9 Section introduction -
Chapter 10 How music creates emotion -
Chapter 11 “Mors stupebit” -
Chapter 12 Three theories of emotion—three routes for musical arousal -
Chapter 13 Music-to-listener emotional contagion -
Chapter 14 Empathy, enaction, and shared musical experience -
Chapter 15 Music, action, and affect -
Chapter 16 Rhythmic entrainment as a mechanism for emotion induction by music -
Chapter 17 Striking a chord in the brain -
Chapter 18 Section introduction -
Chapter 19 Forms of thought between music and science -
Chapter 20 Control and the science of affect -
Chapter 21 The psychotropic power of music during the Renaissance -
Chapter 22 Music as a means of social control -
Chapter 23 The tradition of ancient music therapy in the 18th century -
Chapter 24 On nostalgia -
Chapter 25 Emotions, identity, and copyright control - Appendix to “Gender ambivalence and the expression of passions” by Christine Jeanneret
- Index
Music-to-listener emotional contagion
Music-to-listener emotional contagion
- Chapter:
- (p.169) Chapter 13Music-to-listener emotional contagion
- Source:
- The Emotional Power of Music
- Author(s):
Stephen Davies
- Publisher:
- Oxford University Press
The author advocates the notion that music elicits emotion through a process of emotional contagion, defined as a ‘mirroring’ response in which the listener is moved to feel the emotion that the music expresses. In this chapter the author develops this notion and contrasts it with various psychological theories of imitation or mimicry. In particular, the crucial idea concerning what is intentional object of a musically induced emotion must be examined. It is argued that the music is not the emotional object of the response because the listener does not believe anything of the music that would make it the intentional object of a sad response, namely, that the music is unfortunate, suffering, or regrettable.
Keywords: Music, emotion, contagion, mirroring, imitation, intentional object, cognitive theories
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- Title Pages
- Contributors
- Introduction
-
Chapter 1 Section introduction -
Chapter 2 Sad flowers -
Chapter 3 Composing the expressive qualities of music -
Chapter 4 The emotional power of musical performance -
Chapter 5 The singer’s paradox -
Chapter 6 On the resistance of the instrument -
Chapter 7 Gender ambivalence and the expression of passions in the performances of early Roman cantatas by castrati and female singers -
Chapter 8 The ethos of modes during the Renaissancei -
Chapter 9 Section introduction -
Chapter 10 How music creates emotion -
Chapter 11 “Mors stupebit” -
Chapter 12 Three theories of emotion—three routes for musical arousal -
Chapter 13 Music-to-listener emotional contagion -
Chapter 14 Empathy, enaction, and shared musical experience -
Chapter 15 Music, action, and affect -
Chapter 16 Rhythmic entrainment as a mechanism for emotion induction by music -
Chapter 17 Striking a chord in the brain -
Chapter 18 Section introduction -
Chapter 19 Forms of thought between music and science -
Chapter 20 Control and the science of affect -
Chapter 21 The psychotropic power of music during the Renaissance -
Chapter 22 Music as a means of social control -
Chapter 23 The tradition of ancient music therapy in the 18th century -
Chapter 24 On nostalgia -
Chapter 25 Emotions, identity, and copyright control - Appendix to “Gender ambivalence and the expression of passions” by Christine Jeanneret
- Index
