Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-12T22:48:01.007Z Has data issue: false hasContentIssue false
  • English
  • Français

What about the music? Music-specific functions must be considered in order to explain reactions to music

Published online by Cambridge University Press:  01 October 2008

Guy Madison
Guy Madison
Affiliation:
Department of Psychology, Umeå University, 901 87 Umeå, Sweden. guy.madison@psy.umu.sehttp://www.psy.umu.se/staff/guy_madison_eng.htm
Get access Rights & Permissions [Opens in a new window]

Abstract

The mechanisms proposed in the target article are quite general and do not address variables specific for music. I argue that reactions to music include motivational mechanisms related to functions of music. To further the field, as the authors envision, consideration of internal mechanisms must be paired with specific hypotheses that include musical and musically relevant variables.

Type
Open Peer Commentary
Information
Behavioral and Brain Sciences , Volume 31 , Issue 5 , October 2008 , pp. 587
Copyright
Copyright © Cambridge University Press 2008

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aleman, A., Nieuwenstein, M. R., Böcker, K. B. E. & de Haan, E. H. F. (2000) Music training and mental imagery ability. Neuropsychologia 38(12):1664–68.CrossRefGoogle ScholarPubMed
Brown, S. W. (2000) The “musilanguage” model of music evolution. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 271–300. MIT Press.Google Scholar
Cooke, D. (1959) The language of music. Oxford University Press.Google Scholar
Darwin, C. (1871/1902) The descent of man and selection in relation to sex. P. F. Collier & Son/John Murray. (Original work published in 1871).Google Scholar
Fitch, W. T. (2006) The biology and evolution of music: A comparative perspective. Cognition 100(1):173–215.CrossRefGoogle Scholar
Freeman, W. J. (2000) A neurobiological role of music in social bonding. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 411–24. MIT Press.Google Scholar
Frijda, N. H. (1986) The emotions. Cambridge University Press.Google Scholar
Juslin, P. N. (2001) Communicating emotion in music performance: A review and a theoretical framework. In: Music and emotion: Theory and research, ed. Juslin, P. N. & Sloboda, J. A., pp. 309–37. Oxford University Press.CrossRefGoogle Scholar
Juslin, P. N. & Laukka, P. (2004) Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research 33:217–38.CrossRefGoogle Scholar
Juslin, P. N. & Madison, G. (1999) The role of timing patterns in the decoding of emotional expressions in music performances. Music Perception 17:197–221.CrossRefGoogle Scholar
Kivy, P. (2002) Introduction to a philosophy of music. Oxford University Press.CrossRefGoogle Scholar
Madison, G. (2006) Experiencing groove induced by music: Consistency and phenomenology. Music Perception 24(2):201–208.CrossRefGoogle Scholar
Madison, G. (in press) Cause and affect: A functional perspective on music and emotion. In: Art and the senses, ed. Melcher, D. & Bacchi, F.. Oxford University Press.Google Scholar
Merker, B. (2000) Synchronous chorusing and human origins. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 315–27. MIT Press.Google Scholar
Merker, B., Madison, G. & Eckerdal, P. (in press) On the role and origin of isochrony in human rhythmic entrainment. Cortex.Google Scholar
Meyer, L. B. (1956) Emotion and meaning in music. University of Chicago Press.Google Scholar
Miller, G. F. (2000) Evolution of human music through sexual selection. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 329–60. MIT Press.Google Scholar
Mithen, S. (2005) The singing Neanderthals: The origins of music, language, mind and body. Weidesfeld & Nicolson.Google Scholar
Molino, J. (2000) Toward an evolutionary theory of music and language. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 165–76. MIT Press.Google Scholar
Peretz, I. (2006) The nature of music from a biological perspective. Cognition 100(1):1–32.CrossRefGoogle ScholarPubMed
Pinker, S. (1997) How the mind works. W. W. Norton.Google Scholar
Richman, B. (2000) How music fixed “nonsense” into significant formulas: On rhythm, repetition, and meaning. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 301–14. MIT Press.Google Scholar
Roederer, J. (1984) The search for a survival value of music. Music Perception 1(3):350–56.CrossRefGoogle Scholar
Schellenberg, E. G., Peretz, I. & Vieillard, S. (2008) Liking for happy- and sad-sounding music: Effects of exposure. Cognition and Emotion 22(2):218–37.CrossRefGoogle Scholar
Scherer, K. R. (2004) Which emotions can be induced by music? What are the underlying mechanisms? And how can we measure them? Journal of New Music Research 33(3):239–51.CrossRefGoogle Scholar
Scherer, K. R., Zentner, M. R. & Schacht, A. (2001–2002) Emotional states generated by music: An exploratory study of music experts. Musicae Scientiae (Special Issue 2001–2002): 149–71.CrossRefGoogle Scholar
Todd, N. P. M. & Cody, F. W. (2000) Vestibular responses to loud dance music: A physiological basis for the “rock and roll threshold”? Journal of the Acoustical Society of America (JASA) 107(1):496–500.CrossRefGoogle Scholar
Ujhelyi, M. (2000) Social organization as a factor in the origins of language and music. In: The origins of music, ed. Wallin, N. L., Merker, B. & Brown, S. W., pp. 125–34. MIT Press.Google Scholar