Emotional cues in american popular music: Five decades of the Top 40

Psychology of Aesthetics, Creativity, and the Arts

Volumn 6, Issue 3, 2012, Pages 196-203

  Glenn Schellenberg, E ^a,b   von Scheve, Christian ^b  

^a UNIVERSITY OF TORONTO   (Canada)

^b FREIE UNIVERSITÄT BERLIN   (Germany)

Author keywords

Mixed emotions; Music and emotion; Music history; Popular music; Social change

Indexed keywords

EID: 84874001870     PISSN: 19313896     EISSN: 1931390X     Source Type: Journal    
DOI: 10.1037/a0028024     Document Type: Article

References (58)

1. Attali, J. (1985). Noise: The political economy of music (B. Massumi, Trans.). Minneapolis, MN: University of Minneapolis.
2. Bauman, Z. (1991). Modernity and ambivalence. Ithaca, NY: Cornell University Press.
3. Bauman, Z. (2002). Society under siege. Cambridge, UK: Polity Press.
4. Bennett, A. (2008). Towards a cultural sociology of popular music. Journal of Sociology, 44, 419-432. doi:10.1177/1440783308097130
5. Bigand, E., & Poulin-Charronat, B. (2006). Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training. Cognition, 100, 100-130. doi:10.1016/j.cognition.2005.11.007
6. Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. New York, NY: Routledge.
7. Campbell, M. (2009). Popular music in America: The beat goes on (3rd ed.). Boston, MA: Schirmer.
8. Chan, T. W., & Goldthorpe, J. H. (2006). Social stratification and cultural consumption: Music in England. European Sociological Review, 23, 1-19. doi:10.1093/esr/jcl016
9. Conley, D. (2009). Elsewhere, USA: How we got from the company man, family dinners, and the affluent society to the home office, BlackBerry moms, and economic anxiety. New York, NY: Pantheon.
10. Cowen, T. (2002). Creative destruction. Princeton, NJ: Princeton University Press.
11. DeNora, T. (2000). Music in everyday life. Cambridge, MA: Cambridge University Press. doi:10.1017/CBO9780511489433
12. DeNora, T. (2003). After Adorno: Rethinking music sociology. Cambridge, MA: Cambridge University Press. doi:10.1017/CBO9780511489426
13. Derrida, J. (1967). L'écriture et la difference [Writing and difference]. Paris: Seuil.
14. DeWall, C. N., Pond, R. S. Jr., Campbell, W. K., & Twenge, J. M. (2011). Tuning in to psychological change: Linguistic markers of psychological traits and emotion over time in popular U.S. song lyrics. Psychology of Aesthetics, Creativity, and the Arts, 5, 200-207. doi:10.1037/a0023195
15. Elias, N. (1997). Über den Prozeβ der Zivilisation, Bd. 2 [The civilizing process: Part 2]. Frankfurt/Main: Suhrkamp.
16. Empson, W. (1930). Seven types of ambiguity. London: Chatto & Windus.
17. Featherstone, M. (1987). Lifestyle and consumer culture. Theory, Culture and Society, 4, 55-70. doi:10.1177/026327687004001003
18. Frith, S. (1987). Towards an aesthetic of popular music. In R. Leppert & S. McClary (Eds.), Music and society: The politics of composition, performance and reception (pp. 133-149). New York, NY: Cambridge University Press.
19. Frith, S. (2004). Popular music: Critical concepts in media and cultural studies. London: Routledge.
20. Gabrielsson, A., & Lindström, E. (2001). The influence of musical structure on emotional expression. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 223-248). Oxford, United Kingdom: Oxford University Press.
21. Giddens, A. (1991). Modernity and self-identity. Cambridge, MA: Polity Press.
22. Hargreaves, D. J., & North, A. C. (1999). The functions of music in everyday life: Redefining the social in music psychology. Psychology of Music, 27, 71-83. doi:10.1177/0305735699271007
23. Harrington, C. L., & Bielby, D. D. (2000). Constructing the popular: Cultural production and consumption. In C. L. Harrington & D. D. Bielby (Eds.), Popular culture: Production and consumption (pp. 1-17). Malden, MA: Blackwell.
24. Hesmondhalgh, D. (2008). Towards a critical understanding of music, emotion and self-identity. Consumption, Markets and Culture, 11, 329- 343. doi:10.1080/10253860802391334
25. Hunter, P. G., Schellenberg, E. G., & Schimmack, U. (2008). Mixed affective responses to music with conflicting cues. Cognition and Emotion, 22, 327-352. doi:10.1080/02699930701438145
26. Hunter, P. G., Schellenberg, E. G., & Schimmack, U. (2010). Feelings and perceptions of happiness and sadness induced by music: Similarities, differences, and mixed emotions. Psychology of Aesthetics, Creativity, and the Arts, 4, 47-56. doi:10.1037/a0016873
27. Hunter, P. G., & Schellenberg, E. G. (2010). Music and emotion. In M. R. Jones, R. R. Fay, & A. N. Popper (Eds.), Music perception (pp. 129- 164). New York, NY: Springer. doi:10.1007/978-1-4419-6114-3_5
28. Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception, 20, 151-171. doi:10.1525/mp.2002.20.2.151
29. Illouz, E. (2007). Cold intimacies: The making of emotional capitalism. London: Polity.
30. Johnson, S. (2005). Everything bad is good for you: How today's popular culture is actually making us smarter. New York, NY: Riverhead.
31. Juslin, P. N., & Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559-575.
32. Knobloch, S., & Zillmann, D. (2002). Mood management via the digital jukebox. Journal of Communication, 52, 351-366. doi:10.1111/j.1460-2466.2002.tb02549.x
33. Ladinig, O., & Schellenberg, E. G. (2012). Liking unfamiliar music: Effects of felt emotion and individual differences. Psychology of Aesthetics, Creativity, and the Arts. doi:10.1037/a0024671
34. Lonsdale, A. J., & North, A. C. (2011). Why do we listen to music? A uses and gratifications analysis. British Journal of Psychology, 102, 108- 134. doi:10.1348/000712610X506831
35. Martin, P. J. (1995). Sounds and society: Themes in the sociology of music. Manchester, United Kingdom: Manchester University Press.
36. Mestrovic, S. (1997). Postemotional society. London: Sage.
37. Moretti, F. (2005). Graphs, maps, trees: Abstract models for a literary history. London: Verso.
38. Neckel, S. (2009). Emotion by design: Self-management of feelings as a cultural program. In B. Röttger-Rössler & H. J. Markowitsch (Eds.), Emotions as bio-cultural processes (pp. 181-198). New York, NY: Springer. doi:10.1007/978-0-387-09546-2_9
39. Peterson, R. A., & Anand, N. (2004). The production of culture perspective. Annual Review of Sociology, 30, 311-334. doi:10.1146/annurev.soc.30.012703.110557
40. Peterson, R. A., & Kern, R. M. (1996). Changing highbrow taste: From snob to omnivore. American Sociological Review, 61, 900-907. doi: 10.2307/2096460
41. Pettijohn, T. F. II, & Sacco, D. F. Jr. (2009a). The language of lyrics: An analysis of popular Billboard songs across conditions of social and economic threat. Journal of Language and Social Psychology, 28, 297- 311. doi:10.1177/0261927X09335259
42. Pettijohn, T. F. II, & Sacco, D. F. Jr. (2009b). Tough times, meaningful music, mature performers: Popular Billboard songs and performed pref-erences across social and economic condition in the USA. Psychology of Music, 37, 155-179. doi:10.1177/0305735608094512
43. Post, O., & Huron, D. (2009). Western classical music in the minor mode is slower (except in the Romantic period). Empirical Musicology Review, 4, 2-10.
44. Salganik, M. J., Dodds, P. S., & Watts, D. J. (2006). Experimental study of inequality and unpredictability in an artificial cultural market. Science, 311, 854-856. doi:10.1126/science.1121066
45. Schellenberg, E. G., Bigand, E., Poulin-Charronnat, B., Garnier, C., & Stevens, C. (2005). Children's implicit knowledge of harmony in Western music. Developmental Science, 8, 551-566. doi:10.1111/j.1467-7687.2005.00447.x
46. Schellenberg, E. G., Peretz, I., & Vieillard, S. (2008). Liking for happy and sad sounding music: Effects of exposure. Cognition and Emotion, 22, 218-237. doi:10.1080/02699930701350753
47. Scherer, K. R. (2004). Which emotions can be induced by music? What are the underlying mechanisms? And how can we measure them? Journal of New Music Research, 33, 239-251. doi:10.1080/0929821042000317822
48. Sloboda, J. A. (1992). Empirical studies of emotional response to music. In M. R. Jones & S. Holleran (Eds.), Cognitive bases of musical communication (pp. 33-46). Washington, DC: American Psychological Association. doi:10.1037/10104-003
49. Storey, J. (1999). Cultural consumption and everyday life. London: Arnold.
50. Szpunar, K. K., Schellenberg, E. G., & Pliner, P. (2004). Liking and memory for musical stimuli as a function of exposure. Journal of Experimental Psychology: Learning, Memory, and Cognition, 30, 370- 381. doi:10.1037/0278-7393.30.2.370
51. Thompson, W. F., Schellenberg, E. G., & Husain, G. (2001). Arousal, mood, and the Mozart effect. Psychological Science, 12, 248-251. doi:10.1111/1467-9280.00345
52. Thompson, W. F. (2009). Music, thought, and feeling: Understanding the psychology of music. Oxford: Oxford University Press.
53. Vandekerckhove, M., von Scheve, C., Ismer, S., Jung, S., & Kronast, S. (2008). Regulating emotions: Culture, social necessity and biological inheritance. In M. Vandekerckhove, C. von Scheve, S. Ismer, S. Jung, & Kronast, S. (Eds.), Regulating emotions: Culture, social necessity and biological inheritance (pp. 1-12). Malden, MA: Wiley-Blackwell.
54. Vuoskoski, J. K., Thompson, W. F., McIlwain, D., & Eerola, T. (2012). Who enjoys listening to sad music and why? Music Perception, 29, 311-317. doi:10.1525/mp.2012.29.3.311
55. Warde, A. (1994). Consumption, identity-formation and uncertainty. Sociology, 28, 877-898. doi:10.1177/0038038594028004005
56. Williams, S. (1998). Modernity and the emotions: Corporeal reflections on the (ir)rational. Sociology, 32, 747-769. doi:10.1177/0038038598032004007
57. Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8, 494-521. doi:10.1037/1528-3542.8.4.494
58. Zullow, H. M. (1991). Pessimistic rumination in popular songs and newsmagazines predict economic recession via decreased consumer optimism and spending. Journal of Economic Psychology, 12, 501-526. doi: 10.1016/0167-4870(91)90029-S