<p> Music & Emotion: List of readings for the music therapy students' exam</p><p>A. Some phyolosophical, historical and cultural aspects [select 2] 1. Langer, S. (1942). Philosophy in a New Key. Cambridge, MA: Cambridge University Press, Chapter 8: "On significance in Music", pp. 204-245 2. Kivy, P. (1980). The Corded Shell: Reflexions on Musical Expression. NJ: Princeton, pp. 12-70. [ML3845 K58 C67 0815556] 3. Scruton, R. (1997). The Aesthetics of Music [ML3845 S37 1196262] 4. Levinson, J. (1990). Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. Ithaca: Cornell University Press, pp. 306-335 [BH39 L493] 5. Matravers, D. (1998). Art and Emotion. Oxford: Clarendon Press, pp. 165-187 [B105 E46 M37 1998] 6. Webb, D. (1769). Observations of the correspondence between music and poetry. In R. Katz & R. Hacohen (Eds.) (2003) The Arts in mind: Pioneering texts of a Coterie of British Men and Letters. New Brunswick: Transaction Pubs, pp. 251-324. 7. Mersenne, M. (1634/1987) In ., Katz, & C. Dahlahus (Eds.) Contemplating Music: Source Readings in the Aesthetics of Music, Vol. II., New York: Pendragon Press, pp. 77-112, see esp. pp. 102-112 8. Mattehson J. (1739/1981), Der Vollkomene Capellmeister, E.C. Harris (Trans.) Ann Arbor MI: Umi Research Press, Part I, Chapter 3, pp. 102-11 [ML171 M396 1981] See also P. Kivy (1993). The Fine Art of Repetition, pp. 229-264 [ML3845 K58 F56] 9. Feld, S. (2005). Communication, music, and speech about music. In Keil, C. and Feld, S. (2005). Music Grooves .pp. 77-95 10. Keil, C. (2005). Participatory discrepancies and the power of music. In Keil, C. and Feld, S. (2005). Music Grooves. pp. 96-108.</p><p>B. Some Analytical aspects [select 1] 11. Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago: The University of Chicago Press, pp. 22-42, 91-102, 256-272. [see also writings on Meyer, e.g., Cumming, N Analogy in Leonard B. Meyers' theory of musical meaning In Kassler, J. C. (Ed.) (1991) Metaphor: A musical dimension. Sydney: Currency Press, pp177- 192. [ML3845 K37] 12. Cohen. D. (1971). Palestrina counterpoint: A musical expression of unexcited speech. Journal of Music Theory, XV/1-2, 84-111. 13. Cone, E. (1982). The Composer's Voice. Berkeley L.A.: University of California Press, pp.1-40.</p><p>1 C. Some Cognitive aspects [select 3] 14. Dowling, W.J., and Harwood, D.L. (1986). Music cognition. Orlando: Academic Press, pp [chapter 8] 15. Dissanayake, E. (2000). Antecedents of the temporal arts in early mother-infant interaction. In N. L.Wallin, B. Merker, and S. Brown (Eds.) The Origins of Music, Cambridge, MA., MIT Press, pp. 389-410. 16. Damasio, A. R (1999). The feeling of what happens: Body and emotion in the making of consciousness. Chapter 2 "Emotion and feeling", pp. 35-81. New York: Harcourt Brace. 17. Stern, D. (1985). The Interpersonal World of the Infant. Basic Books. Chapters 3, 6, 7. 18. Robb, L. (1999-2000) Emotional musicality in mother-infant vocal affect, and an acoustic study of postnatal depression. Musica Scientiae special Issue. Pp. 123-154. 19. Trevarthen, C (1999-2000). Musicality and the intrinsic motive pulse: evidence from human psychobiology and infant communication. In Musica Scientiae special Issue. pp. 155-199. 20. Peretz, I. (2001). Listen to the brain: A biological perspective on musical emotions. In J. Sloboda, & P. Juslin, (Eds.) Music and Emotion: Theory and Research. Oxford: Oxford University Press, pp. 105-134. 21. Trainor, L. J., & Schmidt, L. A. (2003). Processing emotions induced by music. In I. Peretz & R. Zatorre (Eds.) The cognitive Neuroscience of Music. Oxford, Oxford University Press, pp. 310-324. [Photocopy in Electronic Reserves] 22. Molnar-Szakacs, I, & Overy , K. (2006). Music and mirror neurons: From motion to e'motion. Social Cognitive and Affective Neuroscience, 1(3), 235-241. 23. Panksepp, J., & Bernatzky, G. (2002). Emotional sounds and the brain: the neuro- affective foundations of musical appreciation. Behavioural Processes, 60, 133-155. 24. Juslin, P. N. & Västfäll (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559-575 (only). 25. Zentner , M., Grandjean, D., & Scherer, K. R. (2008). Emotions Evoked by the Sound of Music: Characterization, Classification, and Measurement. Emotion, 8/4, 494-521. 26. Koelsch, S. (2010). Towards a neural basis of music-evoked emotions. Trends in Cognitive Sciences, 14/3, 131-137.</p><p>D. Some Therapeutic aspects [select 4] 27. Eschen, Johannes Th. (Ed.) (2002). Analytical Music Therapy. London: Jessica Kingsley Publishers, pp. 11-34. 28. Sekeles, Chava (1996) Music: Motion and Emotion. St. Louis: MMM Music, Inc., pp.25-63) 29. Pavlicevic, M. (1997). 'Music, meaning and music therapy: a view from music theory' in Music Therapy in Context: Music, Meaning and Relationship. London:Jessica Kingsley, pp. 18-33.</p><p>2 30. Rose, G.J. (2004).'The birth of music in the context of loss: music and affect regulation' in Between Couch and Piano. New York: Brunner-Routledge. pp.112- 131.</p><p>31. Powers, N., Trevarthen, C. (2009). 'Voices of shared emotion and meaning: young infants and their mothers in Scotland and Japan.'. In Malloch S. and Trevarthen, C. (eds.) Communicative Musicality: Exploring the Basis of Human Comanionship. Oxford University Press, chapter 10.</p><p>32. Gratier, M. , Apter-Danon G. (2009). 'The improvised musicality of belonging: Repetition and variation in mother-infant vocal interaction'. In Malloch S. and Trevarthen, C. (eds.) Communicative Musicality: Exploring the Basis of Human Comanionship. Oxford University Press, chapter 14.</p><p>33. De Backer, J. , Van Camp, J. (2003). 'The case of Marianne: Repetition and musical form in psychosis.' In Hadley, S. (ed.) Psychodynamic Music Therapy: Case Studies.chapter 14 (pp.273-298). Barcelona Publishers.</p><p>34. נוי, פנחס (1999) הפסיכואנליזה של האמנות והיצירתיות. תל-אביב: מודן ההוצאה לאור. (פרק 6: 265-317). </p><p>3</p>