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In this book, perspectives in psychology, aesthetics, history and philosophy are drawn upon to survey the value given to sad music by human societies throughout history and today. Why do we love listening to music that makes us cry? This mystery has puzzled philosophers for centuries and tends to defy traditional models of emotions. Sandra Garrido presents empirical research that illuminates the psychological and contextual variables that influence our experience of sad music, its impact on our mood and mental health, and its usefulness in coping with heartbreak and grief. By means of real-life examples, this book uses applied music psychology to demonstrate the implications of recent research for the use of music in health-care and for wellbeing in everyday life.
This book provides a broad introduction to the scientific and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating field of music psychology. Despite its name, music psychology includes a number of fields, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information.
Building on her earlier work, 'The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People', this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well-signposted text with helpful subheadings, 'The Power of Music: An Exploration of the Evidence' gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music’s relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. 'The Power of Music' defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.
An accessible, scientific account of grief, melancholy, and nostalgia in human life and their broader lessons for understanding emotions in general. The Science of Sadness proposes an original scientific account of grief, melancholy, and nostalgia, advocating a unique ethological approach to these familiar, woeful emotions. One of the leading scholars in the psychology of music and music cognition, David Huron draws on hundreds of studies from physiology, medicine, neuroscience, psychology, anthropology, and the arts to resolve long-standing problems that have stymied modern emotion research. A careful examination of sadness-related behaviors reveals their biological and social functions, which Huron uses to formulate a new theory about how emotions in general are displayed and interpreted. We’ve all shed tears of joy, tears of grief, tears of pain. While different emotions often share the same weepy display, Huron identifies the single function that unites them. He suggests how weeping emerged over the course of human evolution, explores the contrasting cultural manifestations of sadness, and chronicles humanity’s changing interpretations of sadness over time. Huron also explains the various ways cultures recruit and reshape involuntary emotional displays for different social purposes, and he offers a compelling narrative of what makes tragic arts so appealing. Though sadness is typically regarded as the very antithesis of happiness, The Science of Sadness draws attention to the important roles that grief, melancholy, and nostalgia play in human well-being.
This book supports readers to transition to more advanced independent game projects by deepening their understanding of the concept development process. It covers how to make concepts sufficiently viable, ambitious, and innovative to warrant the creation of a polished prototype in preparation of a publisher pitch. The book is divided into six sections. After a brief tutorial (Preliminary Phase), readers embark on a journey along the book’s methodology. They travel through successive conceptual phases (Preparations, Procedures, Processes, and Propositions); advance through levels and action beats in each of these phases; master challenges (conceptual tasks) and overcome level bosses (design decisions) that become successively harder; collect items (fulfilled documentation tasks); and “win” the game by having progressed from a raw, initial idea to a full-fledged, polished game treatment. Additional resources for the book are available at ludotronics.net. This book is designed to support junior and senior year BA or MA students in game design programs, as well as novice indie developers and those in the early stages of their game design career.
This book explores the power music has to address health inequalities and the social determinants of health and wellbeing. It examines music participation as a determinant of wellbeing and as a transformative tool to impact on wider social, cultural and environmental conditions. Uniquely, in this volume health and wellbeing outcomes are conceptualised on a continuum, with potential effects identified in relation to individual participants, their communities but also society at large. While arts therapy approaches have a clear place in the text, the emphasis is on music making outside of clinical contexts and the broader roles musicians, music facilitators and educators can play in enhancing wellbeing in a range of settings beyond the therapy room. This innovative edited collection will be of great interest to scholars and practitioners of music, social services, medical humanities, education and the broader health field in the social and medical sciences.
How are our personal soundtracks of life devised? What makes some pieces of music more meaningful to us than others? This book explores the role of memory, both personal and cultural, in imbuing music with the power to move us. Focusing on the relationship between music and key life moments from birth to death, the text takes a cross-disciplinary approach, combining perspectives from a ‘history of emotions’ with modern day psychology, empirical surveys of modern-day listeners and analysis of musical works. The book traces the trajectory of emotional response to music over the past 500 years, illuminating the interaction between personal, historical and contextual variables that influence our hard-wired emotional responses to music, and the key role of memory and nostalgia in the mechanisms of emotional response.
What makes a musical work profound? What is it about pure instrumental music that the listener finds attractive and rewarding? In addressing these questions, Peter Kivy continues his highly regarded exploration of the philosophy of musical aesthetics. He considers here what he believes to be the most difficult subject of all--"just plain music; music unaccompanied by text, title, subject, program, or plot; in other words, music alone."
¿7FWhy does the brain create music? This text argues that the key to music's function lies in the very complexity of musical experience. As well as being both personal and social, the creation of music taps into the whole spectrum of human skills, both physical and mental."