In this article I show that although biological and neuropsychological factors enable and constrain the construction of music, culture is implicated on every level at which we can indicate an emotion-music connection. Nevertheless, music encourages an affective sense of human affiliation and security, facilitating feelings of transcultural solidarity.
BalkwillL.-L.ThompsonW. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43–64.
2.
BeckerJ. (2004). Deep listeners: Music, emotion, and trancing. Bloomington: University of Indiana Press.
3.
BeckerJ. (2010). Exploring the habitus of listening: Anthropological perspectives. In JuslinP. N.SlobodaJ. A. (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 127–157). Oxford, UK: Oxford University Press.
4.
BenamouM. (2003). Comparing musical affect: Java and the west. The World of Music, 45, 57–76.
5.
BermanL. (1993). The musical image: A theory of content. Westport, CT: Greenwood Press.
BuddM. (1989). Music and the communication of emotion. Journal of Aesthetics and Art Criticism, 47, 129–137.
8.
BuntL.PavlicevicM. (2001). Music and emotion: Perspectives from music therapy. In JuslinP. N.SlobodaJ. A. (Eds.), Music and emotions: Theory and research (pp. 181–201). Oxford, UK: Oxford University Press.
9.
CageJ. (1961). Silence: Lectures and writings. Middletown, CT: Wesleyan University Press.
10.
ClarkeE. (2005). Ways of listening: An ecological approach to the perception of musical meaning. Oxford, UK: Oxford University Press.
11.
DaviesS. (1980). The expression of emotion in music. Mind, 89, 67–86.
12.
DaviesS. (1994). Musical meaning and expression. Ithaca, NY: Cornell University Press.
13.
DaviesS. (2001). Musical works and performances: A philosophical exploration. New York, NY: Oxford University Press.
14.
DowlingW. J.HarwoodD. L. (1986). Music cognition. New York, NY: Academic Press.
15.
EkmanP. (1972). Universals and cultural differences in facial expression of emotion. In ColeJ. (Ed.), Nebraska symposium on motivation (pp. 207–283). Lincoln: University of Nebraska Press.
16.
EkmanP. (1992). An argument for basic emotions. Cognition & Emotion, 6, 169–200.
17.
EkmanP. (2003). Emotions revealed: Recognizing faces and feelings to improve communication and emotional life. New York, NY: Henry Holt.
18.
EpsteinD. (1988). Tempo relations in music: A universal? In RentschlerI.HerzbergerB.EpsteinD. (Eds.), Beauty and the brain: Biological aspects of aesthetics (pp. 91–116). Basel, Switzerland: Birkhäuser.
19.
FeldS. (1984a). Communication, music, and speech about music. Yearbook for Traditional Music, 16, 1–18.
20.
FeldS. (1984b). Sound structure as social structure. Ethnomusicology, 28, 383–409.
21.
FeldS. (1996). Waterfalls of song: An acoustemology of place resounding in Bosavi, Papua New Guinea. In FeldS.BassoK. H. (Eds.), Senses of place (pp. 91–135). Santa Fe, NM: School of American Research Press.
22.
FritzT.EntschS.GosselinN.SamplerD.PerutzI.TurnerR.. . . KoreshS. (2009). Universal recognition of three basic emotions in music. Current Biology, 19, 573–576.
23.
GabrielssonA. (2001). Emotions in strong experiences with music. In JuslinP. N.SlobodaJ. A. (Eds.), Music and emotions: Theory and research (pp. 431–449). Oxford, UK: Oxford University Press.
24.
GregoryA. H.VarneyN. (1996). Cross-cultural comparisons in the affective response to music. Psychology of Music, 24, 47–52.
25.
HanslickE. (1986). On the beautiful in music (PayzantG., Trans.). Indianapolis, IN: Hackett. (Original work published 1854)
26.
HevnerK. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246–268.
27.
HevnerK. (1937). The affective value of pitch and tempo in music. American Journal of Psychology, 49, 621–630.
28.
HigginsK. M. (1997). Musical idiosyncrasy and perspectival listening. In RobinsonJ. (Ed.), Music and meaning (pp. 83–102). Ithaca, NY: Cornell University Press.
29.
HodeirA. (1956). Jazz: Its evolution and essence (NoakesD., Trans.). New York, NY: Grove Press.
30.
HopkinsP. (1982). Aural thinking. In FalckR.RiceT. (Eds.), Cross-cultural perspectives on music (pp. 143–161). Toronto, Canada: University of Toronto Press.
31.
JuslinP. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music perception, 14, 383–418.
32.
JuslinP. N. (2001). Communicating emotion in music performance. In JuslinP. N.SlobodaJ. A. (Eds.), Music and emotions: Theory and research (pp. 309–337). Oxford, UK: Oxford University Press.
33.
JuslinP. N.LaukkaP. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code?Psychological Bulletin, 129, 770–814.
34.
JuslinP. N.TimmersR. (2010). Expression and communication of emotion in music performance. In JuslinP. N.SlobodaJ. A. (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 453–489). Oxford, UK: Oxford University Press.
35.
JuslinP. N.VästfjällD. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559–575.
36.
KarlG.RobinsonJ. (1995). Shostakovich’s Tenth Symphony. Journal of Aesthetics and Art Criticism, 53, 401–415.
37.
KeilC. (1966). Motion and feeling through music. Journal of Aesthetics and Art Criticism, 24, 337–350.
38.
KeilC. (1987). Participatory discrepancies and the power of music. Cultural Anthropology, 2, 275–283.
39.
KeilC.FeldS. (1994). Music grooves. Chicago, IL: University of Chicago Press.
40.
KivyP. (1980). The corded shell: Reflections on musical expression. Princeton, NJ: Princeton University Press.
41.
KivyP. (1983). Platonism in music: A kind of defense. Grazer Philosophische Studien, 19, 109–129.
42.
KivyP. (1988). How music moves. In AlpersonP. (Ed.), What is music? An introduction to the philosophy of music (pp. 147–163). New York, NY: Haven.
43.
KivyP. (1989). Sound sentiment: An essay on the musical emotions. Philadelphia, PA: Temple University Press.
44.
KivyP. (2002). Introduction to a philosophy of music. Oxford, UK: Oxford University Press.
45.
KoelschS.FritzT.von CramonD. Y.MüllerK.FriedericiA. D. (2006). Investigating emotion with music: An fMRI study. Human Brain Mapping, 27, 239–250.
46.
LevinsonJ. (1990). Hope in the Hebrides. In LevinsonJ. (Ed.), Music, art and metaphysics: Essays in philosophical aesthetics (pp. 336–375). Ithaca, NY: Cornell University Press.
47.
LevitinD. J. (2006). This is your brain on music: The science of a human obsession. New York, NY: Penguin.
48.
LomaxA. (1971). Song structure and social structure. In McAllesterD. P. (Ed.), Readings in ethnomusicology (pp. 227–252). New York, NY: Johnson Reprint Corporation. (Reprinted from [1962]. Ethnology, 1, 425–451).
49.
LomaxA. (1976). Cantometrics: An approach to the anthropology of music. Berkeley: University of California Extension Media Center.
50.
LondonJ. (2004). Hearing in time: Psychological aspects of musical meter. New York, NY: Oxford University Press.
51.
LynchM. P.EilersR. E. (1991). Children’s perception of native and nonnative musical scales. Music perception, 9, 121–132.
52.
MatraversD. (1998). Art and emotion. Oxford, UK: Oxford University Press.
53.
MeyerL. B. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
54.
NielzénS.CesarecZ. (1981). On the perception of emotional meaning in music. Psychology of Music, 9, 17–31.
55.
NussbaumC. O. (2007). The musical representation: Meaning, ontology, and emotion. Cambridge, MA: MIT Press.
56.
PatelA. (2008). Music, language, and the brain. New York, NY: Oxford University Press.
57.
PeretzI. (2001). Listen to the brain: The biological perspective on musical emotions. In JuslinP. N.SlobodaJ. A. (Eds.), Music and emotions: Theory and research (pp. 105–134). Oxford, UK: Oxford University Press.
58.
PerlmanM.KrumhanslC. L. (1996). An experimental study of internal interval standards in Javanese and Western musicians. Music Perception, 14, 95–116.
59.
PlutchikR. (1994). The psychology and biology of emotion. New York, NY: Harper-Collins College.
60.
PrattC. C. (1952). Music as the language of emotion. Washington, DC: Library of Congress.
61.
RobinsonJ. (2005). Deeper than reason: Emotion and its role in literature, music, and art. New York, NY: Oxford University Press.
62.
RowellL. (1983). Thinking about music: An introduction to the philosophy of music. Amherst: University of Massachusetts Press.
63.
SchubertE. (2001). Continuous measurement of self-report emotional response to music. In JuslinP. N.SlobodaJ. A. (Eds.), Music and emotion: Theory and research (pp. 393–414). Oxford, UK: Oxford University Press.
64.
SchubertE. (2010). Continuous self-report methods. In JuslinP. N.SlobodaJ. A. (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 223–253). Oxford, UK: Oxford University Press.
65.
SchutzA. (1977). Making music together: A study in social relationship, In DolginJ. L.KemnitzerD. S.SchneiderE. M. (Eds.), Symbolic anthropology: A reader in the study of symbols and meanings (pp. 106–119). New York, NY: Columbia University Press. (Original work published 1951)
66.
SeashoreC. E. (1967). Psychology of music. New York, NY: Dover.
67.
ShaverP. R.SchwartzJ.KirsonD.O’ConnorC. (1987). Emotion knowledge: Further exploration of a prototype approach. Journal of Personality and Social Psychology, 52, 1061–1086.
68.
ShwederR. A.HaidtJ.HortonR.JosephC. (2008). The cultural psychology of the emotions: Ancient and renewed. In LewisM.Haviland-JonesJ. M.Feldman BarrettL. (Eds.), Handbook of emotions (3rd ed., pp. 409–427). New York, NY: Guilford Press.
69.
SolomonR. C. (2002). Back to basics: On the very idea of “basic emotions.”Journal for the Theory of Social Behavior, 32, 115–144.
70.
SternD. (1985). The interpersonal world of the infant. London, UK: Academic Press.
71.
ThomP. (1993). For an audience: A philosophy of the performing arts. Philadelphia, PA: Temple University Press.
72.
ThompsonW. F.BalkwillL.-L. (2010). Cross-cultural similarities and differences. In JuslinP. N.SlobodaJ. A. (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 755–788). Oxford, UK: Oxford University Press.
73.
TrainorL. J.SchmidtL. A. (2003). Processing emotions induced by music. In PeretzI.ZatorreR. (Eds.), The cognitive neuroscience of music (pp. 310–324). Oxford, UK: Oxford University Press.
74.
TurinoT. (2008). Music as social life: The politics of participation. Chicago, IL: University of Chicago Press.
75.
UnykA. M.TrehubS. E.TrainorL. J.SchellenbergE. G. (1992). Lullabies and simplicity: A cross-cultural perspective. Psychology of Music, 20, 15–28.
76.
VarèseE. (1967). The electronic medium—1962 lecture. In SchartzE.ChildsB. (Eds.), Contemporary composers on contemporary music (pp. 207–208). New York, NY: Holt, Rinehart and Winston.
77.
ZentnerM.GrandjeanD.SchererK. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8, 494–521.