Abstract
This chapter explores five musical emotions, describing their behavioral properties in analytical detail across Baroque, Classical, and Romantic styles. It begins by reconsidering the popular circumplex model of musical emotion. It then develops the attitudinal theory by bringing into play the notion of cognitive processing styles (after Galen Bodenhausen): the idea that emotions are also ways of thinking and hearing—indeed, that thinking and hearing are types of behavior. The major part of the chapter then uses these tools to analyze five musical emotions. Each section constitutes a “very short history of emotion” focusing on a basic emotional category (happiness, anger, sadness, tenderness, and fear) and ranging across analytical examples from the entire common practice period, in broadly chronological order.
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