Empirical Studies
This chapter considers a second paradox in the study of music and emotion: Some scholars regard ‘expression’ as something vague and flexible — almost idiosyncratic. In contrast, other authors seem to view expression as something far more precise, something for which terms like agreement and accuracy seem appropriate. To resolve this paradox, one must look closer at what different scholars could possibly mean when they say that music is expressive of a specific emotion — or, more importantly, how they measure it. Even if we limit ourselves to the listener's side of the equation, and focus purely on perceived (as opposed to felt) emotion, there are still many different ways of approaching this phenomenon empirically.
2018 ◽
pp. 284-332
2018 ◽
Vol 64
(5-6)
◽
pp. 295-306
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2009 ◽
Vol 23
(2)
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pp. 63-76
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Keyword(s):
2011 ◽
Vol 23
(1)
◽
pp. 34-38
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Keyword(s):
2017 ◽
Vol 4
(1)
◽
pp. 58-70
Keyword(s):