A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.

• Part I: Overture


• 1: Patrik N.Juslin and John A.Sloboda: Introduction: Aims, organization, and terminology


• Part II: Multidisciplinary Perspectives


• 2: Stephen Davies: Emotions expressed and aroused by music: Philosophical perspectives


• 3: Nicholas Cook and Nicola Dibben: Emotion in culture and history: Perspectives from musicology


• 4: John A.Sloboda and Patrik N.Juslin: At the interface between the inner and outer world: Psychological perspectives


• 5: Isabelle Peretz: Towards a neurobiology of musical emotions


• 6: Judith Becker: Exploring the habitus of listening: Anthropological perspectives


• 7: Tia DeNora: Emotion as social emergence: Perspectives from music sociology


• Part III: Measurement


• 8: Marcel Zentner and Tuomas Eerola: Self-report measures and models


• 9: Emery Schubert: Continuous self-report methods


• 10: Daniel Västfjäll: Indirect perceptual, cognitive, and behavioural measures


• 11: Donald A.Hodges: Psychophysiological measures


• 12: Stefan Koelsch, Walter A.Siebel, and Thomas Fritz: Functional neuroimaging


• Part IV: Music Making


• 13: Dean Keith Simonton: Emotion and composition in classical music: Historiometric perspectives


• 14: Alf Gabrielsson and Erik Lindström: The role of structure in the musical expression of emotions


• 15: Robert Woody and Gary E.McPherson: Emotion and motivation in the lives of performers


• 16: Dianna T.Kenny: The role of negative emotions in performance anxiety


• 17: Patrik Juslin and Renee Timmers: Expression and communication of emotion in music performance


• Part V: Music Listening


• 18: John A.Sloboda: Music in everyday life: The role of emotions


• 19: David J.Hargreaves and Adrian C.North: Experimental aesthetics and liking for music


• 20: Alf Gabrielsson: Strong experiences with music


• 21: David Huron and Elisabeth Hellmuth Margulis: Musical expectancy and thrills


• 22: Patrik N. Juslin, Simon Liljeström, Daniel Västfjäll and Lars-Olov Lundqvist: How does music evoke emotions? Exploring the underlying mechanisms


• Part VI: Development, Personality and Social Factors


• 23: Sandra E. Trehub, Erin E.Hannon and Adena Schachner: Perspectives on music and affect in the early years


• 24: Peter J. Rentfrow and Jennifer A.McDonald: Preference, personality, and emotion


• 25: Vladimir J.Konecni: The influence of affect on music choice


• 26: Reebee Garofalo: Politics, mediation, social context, and public use


• 27: William Forde Thompson and Laura-Lee Balkwill: Cross-cultural similarities and differences


• Part VII: Applications


• 28: Susan Hallam: Music education: the role of affect


• 29: Michael H.Thaut and Barbara L. Wheeler: Music therapy


• 30: Suzanne Hanser: Music, health, and well-being


• 31: Annabel J. Cohen: Music as a source of emotion in film


• 32: Adrian C.North and David J. Hargreaves: Music and marketing


• Part VIII: Encore


• 33: Patrik N.Juslin and John A.Sloboda: The past, present, and future of music and emotion research

Patrik N. Juslin is associate professor of Psychology at Uppsala University, Sweden, where he teaches courses on music, emotion, perception, and research methodology. He completed his PhD in 1998 and became associate professor in 2004. Juslin has published numerous articles in the areas of expression in music performance, emotional responses to music, music education, and emotion in speech. In 2001, he edited the volume Music and Emotion: Theory and Research together with John Sloboda. Juslin is associate editor of the journals Music Perception and Musicae Scientiae. He is a member of the International Society for Research on Emotions and received ESCOM's 'Young Researcher Award' in 1996. Alongside his work as a researcher, he has also worked professionally as a guitar player.
John Sloboda is Emeritus Professor at Keele, and honorary Professor of Music at Royal Holloway University, London. He has been a member of the School of Psychology at Keele since 1974 and was Director of its Unit for
the Study of Musical Skill and Development founded in 1991. John Sloboda is internationally known for his work on the psychology of music. He is a Fellow of the British Psychological Society, and has been President of both the Psychology and General Sections of the British Association for the Advancement of Science, as well as President of the European Society for the Cognitive Sciences of Music, where he serves on
the editorial board of it's journal Musicae Scientiae. He was recipient of the 1998 British Psychological Society's Presidents Award for Distinguished Contributions to Psychological Knowledge, and in 2004 was
elected to Fellowship of the British Academy. He is author of over 150 publications in the field of music psychology.