Emotion

Inspiring guidance for the principles of designing for humans.

Gives coping and managing techniques to deal with ones emotions.

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.

This is Volume XIV of thirty-eight in a series on the General Psychology. Originally published in 1960, this study offers A Comprehensive Phenomenology of Theories and their Meanings for Therapy.

Everyone cares about positive emotion and what makes us happy. But do we really know both sides of the story about our most treasured feelings? This comprehensive volume provides the first account of the light and the dark sides of positive emotion, and how they can help us and sometimes even hurt us.

In this sophisticated overview of human emotions, a widely respected psychologist and author addresses the ambiguities and embraces the controversies that surround this intriguing subject. An insightful and lucid thinker, Jerome Kagan examines what exactly we do know about emotions, which popular assumptions about emotions are incorrect, and how scientific study must proceed if we are to uncover the answers to persistent and evasive questions about emotions. Integrating the findings of anthropological, psychological, and biological studies in his wide-ranging discussion, Kagan explores the evidence for great variation in the frequency and intensity of emotion among different cultures. He also discusses variations among individuals within the same culture and the influences of gender, class, ethnicity, and temperament on a person's emotional patina. In his closing chapter, the author proposes that three sources of evidence - verbal descriptions of feelings, behaviours, and measures of brain states - provide legitimate but different definitions of emotion. Translating data from one of these sources to another may not be possible, Kagan warns, and those who study emotions must accept, at least for now, that their understanding is limited to and by the domain of their information

This work provides a complete theory of the emotional processes, explaining how different emotions are elicited and expressed, and how the emotional range of individuals develops over their lifetime. The author's approach puts emotion in a central role as a complex, patterned, organic reaction to both daily events and long-term efforts on the part of the individual to survive, flourish and achieve. In his view, emotions cannot be divorced from other functions - whether biological, social or cognitive - and express the intimate, personal meaning of what individuals experience. As coping and adapting processes, they are seen as part of the on-going effort to monitor changes, stimuli and stresses arising from the environment.

From Darwin to "Star Trek", Evans offers a lively look at the science of emotions and finds that whether we live in the shadow of Times Square or in the depths of the rain forest, all humans feel disgust, joy, surprise, anger, fear, and distress. 20 halftones.

This textbook is designed for upper-level courses on affective science. The lively, integrative chapters review empirical research on emotion at every level of analysis, including the neural bases of emotions, complex emotions, emotion and cognitive processes, emotion regulation, and an examination of social levels of analysis including emotions in groups, gender, and cultural differences. This 2nd edition has greater inclusion of research findings from neuroscience and includes highly effective learning devices, such as ‘Development Detail’ boxes; bolded key terms; ‘Learning Links’ to online supplemental materials; and many tables, figures and illustrations that make topics come alive.

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review