1. Perception of Emotion in Music: What is Musical Expressiveness?

1. Summary of the empirical literature and "live" experiment
2. Non-starters: Conventions and artistic intentions
3. Arousal Theory (Robinson): Expressiveness as arousing emotion
4. Problems for Arousal Theory
5. Contour Theory (Davies): Expressiveness as resemblance with emotion
6. Problems for Contour Theory
7. Persona Theory (Levinson): Expressiveness as imagining a person feeling an emotion
8. Problems with Persona Theory
9. Metaphor Theory (Peacocke): Expressiveness as metaphor for emotion

2. Feeling Emotions with Music

1. Mechanisms by which music elicits emotions
2. The case of musical contagion
3. Cognitivism about emotions (Scheler, Tappolet): Emotions are experiences of values
4. The challenge of musical contagion for cognitivism
5. Dialectic: Renouncing or rescuing cognitivism
6. Rescuing cognitivism I: Moods (Carroll, Robinson) and problems
7. Rescuing cognitivism II: Being Moved (Kivy) and problems
8. Rescuing cognitivism III: Imagination (Levinson) and problems
9. Renouncing cognitivism: Mimicry and mirror neurons (Davies) and problems

3. The Panorama

A. The Paradox of Fiction and Emotions

1. Summary of the make-believe approach

2. Emotion, Thought, and Imagination

2.1. Denying the Belief Requirement: Emotions without belief (e.g. phobias, imaginings, ...)

2.2. Thought Theory (Lamarque): Emotions towards fiction are based on thoughts/imaginings

2.3. Disanalogies between fiction and emotions without belief

2.4. Radford's challenge: Why would thoughts make the emotion appropriate in the fictional (vs. real-life) case?

3. The Normative Challenge

3.1. Fiction and moral sensitivity (Nussbaum, Robinson)

3.2. Fiction and simulated emotions (Gendler)

3.3. Norms for fiction (Friend)

B. The Emotional Power of Music

Perceiving emotions in music vs. Feeling emotions with music

Historical remarks, and import of the relationship between emotion and music

1. Perception of Emotion in Music

1.1. Empirical studies on emotion perception in music

Strong convergence and robustness for the perception of basic emotions in music (sadness, joy, anger, anxiety, ...) and the expression of emotions in music by composers/performers

Acoustic profiles of emotions in music and the mechanisms of affective prosody/emotional gestures

From the laboratory to the armchair

Aesthetic Experience (Content View and Appreciation View) and the Paradox of Fiction

A. Aesthetic Experience: Content View and Appreciation View

1. Motivating the Content View: Carroll's objections to the Valuing View

• The problem of merely intrinsic evaluation of experience
• The problem of negative aesthetic experiences
• The problem of aesthetic education
• The problem of sufficiency: sex, drugs, and rock'n'roll

2. The Content View: Carroll

• What is the Content View?
• Advantages towards the Valuing View
• Unity
• Beyond fine arts
• Morality and aesthetic experience
• Problems for the Content View: Sufficiency (Levinson)

3. Aesthetic Appreciation: Levinson and Robinson's views

Summary: What are we talking about?

B. The Paradox of Fiction: Introduction

• What is the Paradox of Fiction?
• Motivating the three ideas
• The Belief Requirement
• Descriptive vs. Normative challenge