24 articles in this issue
Caroline Waddington
NA
Deniz Peters
Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another’s. Whose are... see more
Philip Alperson
In his essay, “Musical Empathy, Emotional Co-Constitution, and the ‘Musical Other,’” Deniz Peters aims to present a non-reductive account of musical empathy in musical experience that takes seriously the contributions of bodily experience through what he ... see more
Anthony Gritten
This text responds to Deniz Peters’ argument with three things: a broad context for empathic listening based on its value as a transferable skill; a comment on the relationship between musical empathy and “social empathy via music”; and a comment on the “... see more
Jacques Launay
This paper discusses the paradox that while human music making evolved and spread in an environment where it could only occur in groups, it is now often apparently an enjoyable asocial phenomenon. Here I argue that music is, by definition, sound that we b... see more
Rolf Inge Godoy
Motor cognition, defined as the capacity to conceive, plan, control, perceive, and imagine body motion, is here seen as an ubiquitous element in music: music is produced by body motion, people often move in various ways when listening to music, and images... see more
Istvan Molnar-Szakacs
Music allows the expression of emotion, evokes pleasure, and creates the sense of social belonging. Surprisingly, since the advent of recorded music, asocial music listening has become increasingly popular. Launay (2015) presents the argument that music i... see more
Shannon Scott Clark,S. Giac Giacomantonio
Empathy plays a role in social competence and intelligence, and can serve as a buffer against antisocial tendencies. Numerous studies highlight the relationship between empathy, prosocial behaviors, and the predictive utility of music preferences. This st... see more
Alexandra Lamont
This commentary considers the uses to which information about music preferences can be put, considering the findings from Clark and Giacomantonio (2015) and other related studies of music preferences. It focuses on three areas. Firstly, the ways in ... see more
Susan A O'Neill
This commentary considers some of the assumptions underpinning the study by Clark and Giacomantonio (2015). Their exploratory study examined relationships between young people’s music preferences and their cognitive and affective empathy-related responses... see more
Sara Prot,Douglas Gentile
Clark and Giacomantonio (2015) raise several valuable research questions concerning the relationship between empathy and music genre preferences, and present interesting exploratory analyses concerning this issue. This response provides a review of findin... see more
David M. Greenberg,Peter J. Rentfrow,Simon Baron-Cohen
Recent research has provided evidence that musical interaction can promote empathy. Yet little is known about the underlying intrapersonal and social psychological processes that are involved when this occurs. For example, which types of music increase em... see more
Tal-Chen Rabinowitch
In their article on music and empathy, Greenberg, Rentfrow and Baron-Cohen propose to employ the Emphasizing–Systemizing (E-S) theory as a framework for analyzing the intrapersonal and social psychological processes that underlie the capacity of music to ... see more
Jonna K Vuoskoski
Empathy and social cognition arguably play a crucial role in our engagement with music. In response to the account offered by Greenberg, Rentfrow, and Baron-Cohen, this commentary considers an alternative—yet complementary—explanation for how music making... see more
Erin Heisel
One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical perfor... see more
Thalia R Goldstein
This commentary addresses the hypothesis that empathy is a tool for embodiment and skillful performance in the presentation of opera and art song. It discusses the need to clearly and effectively define the term “empathy,” and considers research from acti... see more
Anton Vishio
In my commentary on Erin Heisel’s thought-provoking essay, I explore alternative responses to the masterclass she describes. I propose expanding the kinds of empathy that might be most useful to performers to include “cognitive empathy,” while suggesting ... see more
Jonathan Still
The idea that metrical accent might be related to an embodied sense of “up” and “down” is implied by the terms “upbeat” and “downbeat,” and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Ye... see more
Arnie Cox
Jonathan Still’s exploration of differences in how dancers and musicians experience and conceptualize beats, rhythm, and meter raises issues that scholars interested in these temporal components of music ought to consider, particularly with respect to the... see more
Robert S. Hatten
This commentary considers ways in which meter implies a virtual environmental field, one that has close correlations with dancers’ actual experiences of movement within gravitational constraints, despite their verbal descriptions that might suggest the co... see more
Elizabeth Haddon,Mark Hutchinson
The multiple definitions of empathy (Batson, 2011) suggest that despite attempts to rationalize terminology its nature might only be understood by those engaged in particular relational experiences. In music, these include the dimensions of co-player rela... see more
Mine Dogantan-Dack
This commentary emphasizes empathy as a biologically and culturally embedded, dynamically emergent phenomenon, and critically evaluates its epistemic status in explaining human action.
Fred Seddon
This review comments upon the article entitled above. The article is well written and describes an interesting and original study. This review critiques the Method and Discussion sections of the article and offers suggestions for future research. Three sp... see more