Nowadays we listen to music whenever and wherever we like. Never before has the scope of what is available been so great and varied. The mass media and Internet have given us unlimited paths into the world of music. Just like music is varied and endless, so are our reactions to music. The very same piece of music can generate completely different reactions in different people, and a person can react quite differently to the same piece of music on different occasions. Sometimes the reactions become more intense and profound than usual and leave powerful impressions in our memories. In this book several hundred people - women and men, young and old, musicians and non-musicians - talk about such strong experiences with music and what they have come to mean for them. The experiences extend across almost all of the twentieth century and have occurred in highly varying and often unexpected situations. The music absorbs the listeners and shuts out everything else. It evokes strong emotions and a lot of other reactions, from purely physical responses to experiences of existential and spiritual character. Every account is unique, moving, and bears witness to strong commitment. The experience may lead to the release of pent-up feelings, liberation and inner cleansing, and work as therapy. One can feel confirmed and understood, gain increased self-confidence, and acquire another view of oneself and of life in general. There is also the possibility of a new view of music and what it can mean for well-being, health, and quality of life. There are many similarities with strong experiences in other areas, such as nature, love, religion, literature, art, and dance. Strong Experiences with Music is a ground-breaking new book. It draws on over two decades of research and accounts from almost 1,000 participants. It addresses itself to all who have an interest in music and what music can mean. It should be possible to read without special previous knowledge, the technical language of music and psychology is kept at a minimum. Experts in the fields of music psychology music education, and musicology may find supplementary information in special analyses and notes to be consulted at will.

'Strong Experiences in Music' has been developed from a longrunning study into the effects of music. It draws on over 2 decades of research, and almost 1000 participants, who describe in their own words, their own unique and personal experiences of music.

Strong Experiences in Music is a ground-breaking new book, developed from a long-running study into the effects of music. It draws on over two decades of research, and almost 1,000 participants, who describe, in their own words, their own unique and personal experiences of music.

Founded in 1965 and still active today, the Association for the Advancement of Creative Musicians (AACM) is an American institution with an international reputation. George E. Lewis, who joined the collective as a teenager in 1971, establishes the full importance and vitality of the AACM with this communal history, written with a symphonic sweep that draws on a cross-generational chorus of voices and a rich collection of rare images. Moving from Chicago to New York to Paris, and from founding member Steve McCall’s kitchen table to Carnegie Hall, A Power Stronger Than Itself uncovers a vibrant, multicultural universe and brings to light a major piece of the history of avant-garde music and art.

This new volume in the Series in Affective Science is the first book in over 40 years to tackle the complex and powerful relationship between music and emotion. The book brings together leading researchers in both areas to present the first integrative review of this powerful relationship. This is a book long overdue, and one that will fascinate psychologists, musicologists, music educators, and philosophers.

Why does music have such a powerful effect on our minds and bodies? It is the most mysterious and most tangible of all forms of art. Yet, Anthony Storr believes, music today is a deeply significant experience for a greater number of people than ever before. In this book, he explores why this should be so. Drawing on a wide variety of opinions, Storr argues that the patterns of music make sense of our inner experience, giving both structure and coherence to our feelings and emotions. It is because music possesses this capacity to restore our sense of personal wholeness in a culture which requires us to separate rational thought from feelings that many people find it so life-enhancing that it justifies existence.

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinated by music and emotion.

This book explores the atmospheric dimensions of music and sound. With multidisciplinary insights from music studies, sound studies, philosophy and media studies, chapters investigate music and sound as shared environmental feelings. This book probes into cutting edge conceptual issues at the forefront of contemporary discussions on atmosphere, atmospherology and affect. It also extends the spatial and relational focus towards fundamentally temporal questions of performance, process, timbre, resonance and personhood. The capacity of atmospheric relations to imbue a situation with an ambient feeling and to modulate social collectives is highlighted, as well as auditory experience as a means of connecting with feelings. In addition to original research, the volume features a first translation of an important text by German phenomenologist Hermann Schmitz, and a debate on affect and atmosphere between the philosophers Jan Slaby and Brian Massumi. This novel contribution to the field of music research provides a strong theoretical framework, as well as vibrant case studies, which will be invaluable reading for scholars and students of music, sound, aesthetics, media, anthropology and contemporary philosophy.

Learn how to create a competitive advantage for your business by offering a customer experience that’s second to none! By following a simple “ten principles” format, this book will show you how to constantly improve and build your business. The combination of psychological theory, real world case studies, worked examples and template documents provides the ‘what, why and how’ necessary to make good ideas stick and get them into practical usage, so you can enhance your customers’ experiences and keep them returning again and again. Featuring lessons from a host of winning companies such as Facebook, Lush Cosmetics, Gü puddings and John Lewis, the book is littered with uncomplicated ideas which are simple to implement and accessible to anyone.