Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure

Frontiers in Psychology 9 (2018)
  Copy   BIBTEX

Abstract

Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last decades. Recent developments in neuroimaging techniques, however, have broadened the field by encompassing the study of both cortical and subcortical processing of the sounds. Much is still to be investigated but some major observations seem already to emerge. The domain of music and emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion that music can induce and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms triggering basic emotions. It is tempting, therefore, to bring together contributions from neuroscience studies with a view to cover the possible range of answers to the question of what pleasurable or mood-modifying effects music can have on human beings in real-time listening situations.

Similar books and articles

A Simulation Theory of Musical Expressivity.Tom Cochrane - 2010 - Australasian Journal of Philosophy 88 (2):191-207.
Emotions and reward – but no arousal?Holger Ursin - 2000 - Behavioral and Brain Sciences 23 (2):217-218.
Ingredients of emotional music: An overview of the features that contribute to emotions in music.T. Eerola - forthcoming - Frontiers in Human Neuroscience. Conference Abstract: Tuning the Brain for Music.
Insomnia and the attribution process.Michael D. Storms & Richard E. Nisbett - 1970 - Journal of Personality and Social Psychology 16 (2):319-328.
Arousal theories.Derek Matravers - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge.
How to Expand Musical Formalism.Steven G. Smith - 2015 - Journal of Aesthetic Education 49 (2):20-38.
Personality traits moderate the perception of music-mediated emotions.J. K. Vuoskoski & T. Eerola - forthcoming - Frontiers in Human Neuroscience. Conference Abstract: Tuning the Brain for Music.
The Cognitive Neuroscience of Music.Isabelle Peretz & Robert J. Zatorre (eds.) - 2003 - Oxford University Press UK.

Analytics

Added to PP
2018-02-10

Downloads
266 (#73,276)

6 months
80 (#53,507)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Citations of this work

No citations found.

Add more citations

References found in this work

No references found.

Add more references