MUSICAL EMOTIONS EXPLAINED Musical Emotions Explained is a magnificent publication that has been painstakingly researched to illu- minate the many, varied ways music can express and arouse emotions. It provides the most authoritative single authored text on the topic so far. As a highly readable and informative publication, it superbly unlocks the secrets of musical affect for experienced researchers through to lay readers alike. — Gary E. McPherson, Ormond Chair of Music and Director, Melbourne Conservatorium of Music, Australia Anyone who wants to understand more about the most essential quality of music— its ability to move us— needs to read this book. Juslin’s writing is gripping and thoughtful as he takes us on a journey through the latest research on this most interesting intersection between science and art. — Daniel J. Levitin, Author of This Is Your Brain on Music and The World in Six Songs Music Emotions Explained is a tour de force. In this extraordinary book, written with passion and humor, Patrik Juslin shares insights gleaned from decades of ground- breaking research. Breadth and depth are nicely balanced as grand, over- arching themes are richly supported by systematic and detailed research findings. This book will serve as an inviting introduction to students or interested laypersons but also as a touchstone to which professionals will return frequently for guidance and inspiration. — Donald A. Hodges, Professor Emeritus, University of North Carolina at Greensboro, USA Patrik Juslin here deftly synthesizes several decades of psychological research, much of it his own, on how music both expresses emotion and moves us emotionally, in the course of developing an empiric- ally grounded, evolutionarily based, philosophically informed theory of the phenomenon in question, doing so with style and wit. Musical Emotion Explained is wide ranging, engagingly written, full of arresting claims, and studded with telling anecdotes. It is a book that everyone who has ever marveled at the af- fective power of music should read. — Jerrold Levinson, Distinguished University Professor, Department of Philosophy, University of Maryland, USA Musical Emotions Explained is essential reading that sets the new gold standard resource for understanding the delicious pleasures of music experience. Using lucid, witty and compelling arguments, Patrik Juslin illustrates a set of core mechanisms that collectively account for music-e voked emotions. Scholars, gen- eral readers and musicians will be inspired by this landmark work, which will stimulate research for decades to come. — Bill Thompson, Distinguished Professor, Macquarie University, Sydney, Australia It goes without saying that Patrik Juslin is one of the world’s top experts on the science of musical emo- tion. What this book reveals is that he is a hugely persuasive and accessible interlocutor. It really feels as though one is in conversation with a friend who is thinking issues and arguments through with the reader, step by step. Of course all the important literature is covered, but this is far from a dry literature review. Juslin’s book should excite and stimulate layreaders and professional colleagues alike to deepen their understanding of what makes music emotional. — John Sloboda, Research Professor, Guildhall School of Music & Drama, London, UK The best comprehensive and critically explanatory tome to- date on one of the most fascinating  and still poorly understood topics in music research, written by the foremost international expert on music and emotion. A treasure for decades to come. — Michael Thaut, Professor of Music, Neuroscience and Rehabilitation Science, University of Toronto, Canada In Musical Emotions Explained, Patrik Juslin probes and proffers many psychological and philosophical concepts of musical emotions toward unpacking numerous mysteries surrounding the arousal and ex- pression of musical affect. The results of his meticulous research have profound implications for experi- encing, creating, valuing, and teaching music. Written with great care and passion, this brilliant book is a must- read for anyone who takes a serious interest in the nature and values of music in people’s lives. — David Elliott, Professor of Music and Music Education, New York University, USA Patrik Juslin has been at the forefront of research into music and emotion for more than 20 years. Adding to what is already an astonishing body of work, this hugely impressive monograph is the culmination of that remarkable programme of research. Witten in an accessible and engaging style, and covering a huge range of perspectives, this is a book that will undoubtedly become a classic in the psychology of music, an indispensable resource for researchers in the field, and a fascinating read for those who may be new to the topic. — Eric Clarke FBA, Heather Professor of Music, University of Oxford, UK PATRIK N. JUSLIN MUSICAL EMOTIONS EXPLAINED Unlocking the secrets of musical affect 1 1 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Oxford University Press 2019 The moral rights of the author have been asserted First Edition published in 2019 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2018965945 ISBN 978– 0– 19– 875342– 1 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Oxford University Press makes no representation, express or implied, that the drug dosages in this book are correct. Readers must therefore always check the product information and clinical procedures with the most up- to- date published product information and data sheets provided by the manufacturers and the most recent codes of conduct and safety regulations. The authors and the publishers do not accept responsibility or legal liability for any errors in the text or for the misuse or misapplication of material in this work. Except where otherwise stated, drug dosages and recommendations are for the non-p regnant adult who is not breast- feeding Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work. PREFACE For as long as I can remember, I have been fascinated by the emotional power of music. I was deeply moved by music from an early age. When I grew older and started playing music myself, I discovered that I was not alone in this wonder. As a young musician, I made my own attempt to be expressive and move listeners. Whether I succeeded or not is for others to judge, but the un- spoken intimacy of creating music on stage with fellow musicians include some of the best moments of my life. At that particular moment, I was not particularly concerned about how music works; it made me feel good and that was all I needed. But my curiosity never really left me. Eventually, as an adult, I discovered that there was a whole field of research devoted to understanding how we come to experience music: music psychology. As a result, I have devoted over 20 years of my professional life to exploring the relationship between music and emotion. This book is about what I have learnt so far. For a long time, I resisted the idea of a book of this kind. It seemed to me that the field of music and emotion was in such a mess that an attempt to write a book on this topic would amount to intellectual suicide. The theory and findings needed to tell a coherent story just weren’t there. What has changed? Over the last 15 years, we have seen amazing developments in the field, with large masses of data collected and, increasingly, the development of theories that can help to account for these data. Several of the issues most fiercely debated in the humble beginnings have been, or are slowly be- coming, resolved. You could say that the study of music and emotion is coming of age. Preface Readers who are familiar with this domain and have seen the steady flow of publications in recent years may wonder whether we really need another publication on this topic. I think we do. One reason is that most research is either scattered across various publications or presented in a way that is not accessible to most readers. (Handbook of Music and Emotion, edited by myself and John Sloboda and published in 2010, may seem daunting to even the most seasoned reader.) Thus, it has been difficult for anyone who is not ac- tually an expert in the field to get some sense of the progress made. More importantly, no- one has yet attempted to pull together the frag- mented research into a more complete picture. We have by now discovered many principles for how music can both express and arouse emotions— principles that fit together. Hence, for the first time it seems feasible to present an integrated perspective on the topic. Also—a lthough I could, of course, be mistaken— it appears that the research on the topic has reached something of a peak, so this could be a good time to take stock of the findings. I am not saying that there is nothing more to discover. Far from it, this book will make it clear that there are still many gaps in our knowledge. Even so, I think there is now a core of scientific knowledge about music and emo- tion that will stand the test of time. It has been a joy and privilege to be involved in this process of discovery. Through this book, I hope to share some of the insights that my colleagues and I have gained along the way. In a sense, I consider this book recompense for the taxpayers who have supported my research over the years. As anyone vaguely familiar with science knows, it is a never-e nding story. All knowledge is preliminary— it will be refined, extended, and even re- vised. What I hope, however, is that this book will at least make its readers “confused on a higher level”— to borrow a phrase that my mentor, Alf Gabrielsson, liked to quote during his music psychology lectures. Indeed, if I am successful in my endeavor, you may even become less confused about your responses to music after reading this book. The book cites literature from ancient Greece to the year of 2018, but it does not attempt to offer an exhaustive review of all the scientific vi Preface publications in this vibrant field; that would be virtually impossible given the pace of developments in recent years (at least, if the aim is to produce a book that is pleasurable to read). I have thus cited only those publications that I feel are integral to the story I want to tell. (If I happened to leave out a publication that you think is important, I apologize in advance.) The great philosopher Bertrand Russell said that the writing of his Principia Mathematica was such a huge mental effort that it destroyed his brain. (Luckily, I only read that quotation after beginning work on this book.) I am, of course, no Bertrand Russell; and this book is surely no Principia Mathematica, but I can relate to some of the hardship attested to by Russell. Writing a book is hard work (for me at least). The best time I had in writing this book was quite early on when I wan- dered around like an idiot fantasizing about how fantastic the book would be, and much later on, when I noted that my manuscript began to have some semblance of a book. Between these two phases, there were periods of hard work and anxiety, interspersed with brief moments of flow and euphoria. It helped to remind myself, of course, that I didn’t write the book for myself, I wrote it for you. Fortunately, there were love and music to console me in moments of despair. My own musical journey over the years has taken me from the Beatles and James Brown to Miles Davis and Igor Stravinsky, but the one “musical companion” who has stayed with me since I was young and first laid my hands on a guitar is Eric Clapton. I followed his musical endeavors through all the ups and downs, and to be fair there were quite a few of the latter. But his musical peaks were riveting. I can honestly say that no other musician has given me so many musical emotions as Eric Clapton. For that reason alone, it seems fitting to dedicate this book to him. (Thank you for the music - it’s been a blast.) Patrik N. Juslin November 23, 2018 vii ACKNOWLEDGMENTS All egos in academia notwithstanding, science is a truly social enter- prise. A large number of researchers from all over the world have con- tributed to the body of research summarized in this book. First, I would like to thank my colleagues—p ast and present— in the music psychology group in Uppsala:  Gonçalo Barradas, Marie Djerf, Gertrud Ericson, László Harmat, Jessika Karlsson, Ingrid Lagerlöf, Petri Laukka, Simon Liljeström, Erik Lindström, Siv Lindström, Guy Madison, Melissa Ovsiannikow, Laura Sakka, and Maria Sandgren. I owe a special debt of gratitude to my mentor, Alf Gabrielsson, who introduced me to this topic. I thank him for kind permission to quote several examples from his unique study of strong experiences with music. I would also like to offer my heartfelt thanks to the scholars with whom I have collaborated over the years, briefly or for longer periods. These in- clude Tanja Bänziger†, Roberto Bresin, Tuomas Eerola, Anders Friberg, Terry Hartig, Marie Helsing, Sara Isaksson, Daniel Javitt, John Limmo, Lars- Olov Lundqvist, Gary McPherson, Roland Persson, Klaus Scherer, Erwin Schoonderwaldt, Bill Thompson, Renee Timmers, Daniel Västfjäll, and Aaron Williamon. I am especially grateful to John Sloboda, with whom I had the pleasure of editing two previous volumes on music and emotion. I also wish to acknowledge a number of colleagues who supported the Uppsala group in various ways over the years: Eric Clarke, Ian Cross, Lola Cuddy, Stephen Davies, Irène Deliège, Sue Hallam, Ingrid Hammarlund, David Hargreaves, Donald Hodges, David Huron, Stefan Koelsch, Reinhard Kopiez, Carol Krumhansl, Andreas Lehmann, Jerrold Levinson, Åke Pålshammar, Richard Parncutt, Aniruddh Patel, Ann-S ofie Paulander, Isabelle Peretz, Suvi Saarikallio, Emery Schubert, Michael Spitzer, Johan Sundberg, Michael Thaut, Fredrik Ullén, and Marcel Zentner.