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Hereld, D. C. (2016). Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music. Master's thesis, University of California, San Diego, .
Abstract: This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite intuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action.
Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music.
Through review and analysis of existing literature, qualitative research, and in-depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self.
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Hudson, S. S. (2019). Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter. Ph.D. thesis, Northwestern University, .
Abstract: Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of listening. We construe meter through embodied metering practices: dance gestures, patterns of counting, or epistemologies of rhythmic motion. Many metering practices have conventional metering constructions, specific associations between sounding features, patterns of felt beats, and paths of motion through these beats. Drawing on concepts from cognitive science and performance studies, I explore how this embodied knowledge is constituted and applied in both planning of musical phrases by a performer, and in-time perception and cognition of musical rhythms by any listener or participant.
Metering constructions and practices are often performed by and associated with certain communities and identities. I take a culturally-situated approach to meter and felt motion, studying traditions of embodied movement and bodily discipline including headbanging in heavy metal (Chapter 1), characteristic dance rhythm topics in non-dance concert music of the eighteenth century (Chapter 2), motivic manipulation and developing variation in late Romantic chamber music (Chapters 3 and 4), and prosody and speech gestures in operatic recitative (Chapter 5). Contrary to many existing theories of meter, I argue that our feelings of beat are not necessarily organized in cyclical grids, but are improvised on the spot by stitching together familiar motions. I also explore how movements often embody and perform aesthetic ideologies and cultural meanings, with these hermeneutic frameworks often shaping listeners’ choice of movements, their proprioception of their own movements, and their perception of the qualities of rhythm and motion in the music they are listening to.
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Olsem Kirk N., Powell, M., Anic, A., Vallerand, R. J., & Thompson, W. F. (2020). Fans of Violent Music: The Role of Passion in Positive and Negative Emotional Experience. Musicae Scientiae, OnlineFirst.
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Ramanauskaite, E., & Rudzionis, V. (2024). Emotional Landscapes of Cultural Identity in Fanzines: The Power of Modern Computing in Enhancing Humanities Research. Baltic Journal of Modern Computing, 12(4), 609–627.
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Tzu-Han Cheng, & Chen-Gia Tsai. (2016). emale Listeners’ Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs. Frontiers in Psychology, 7, art. 182.
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Yavuz, M. S. (2017). ‘Delightfully depressing’: Death/doom metal music world and the emotional responses of the fan. Metal Music Studies, 3(2), 201–218.
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