Some theories of emotion in music and their implications for research in music psychology

Abstract

Work in musical aesthetics on musical meaning is relevant to psychological research on musical expressions of emotion. Distinctions between simple emotions, higher emotions, and moods are given, and arguments as to what kinds of emotions or moods music might be able to express (given music's semantic capacities and limitations) are summarized. Next, the question as to how music might express these emotions and moods is considered. The paper concludes with a number of cautionary points for researchers in the psychology of musical emotion: (1) musical expression always involves sonic properties, which must be taken into account. (2) If one uses “real world” musical stimuli, one may be faced with associative interference. (3) Context will often individuate emotional expression, transforming a simple emotion to a higher emotion by providing an intentional object. (4) There is not a simple linear relationship between intensity of a musical parameter and the intensity of an emotional expression. (5) Some perfectly good musical expressions of emotion may not arouse those emotions in the listener, yet it would be incorrect to call such passages “inexpressive.” (6) Any emotions aroused by listening to music, while similar to emotions that occur in non-musical contexts, will nonetheless have a number of important differences.