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also made available in a computer lab at the state music education annual conference. This information will be helpful to educators in need of comparison information to advocate for their programs. Many of our schools have been consolidated and, as has been common across the country, budget shortfalls have resulted in cuts to the arts. The study will also provide a picture of what is occurring in the state in terms on alternative ensembles (other than the large ensembles of band, orchestra or choir) to determine whether there might be an additional attractive, effective means of music education.


Kevin Wilson, Central Michigan University A Literature Review of Emotional Response Theories and Applications to Music Composition


The purpose of this literature review is to inform the practices of composition and teaching composition with existing theories of musical emotion. Understanding how and what characteristics of music appeal to emotions helps composers to successfully express these emotions in music. The disagreement is precisely how music affects people. Theories reviewed in the paper are Buck’s four basic steps in analyzing and describing life experiences, Juslin and Vastfjall six components and mechanisms of emotional response, cross cultural differences, and unconscious subcortical brain responses, and cognitivist and emotivist theories. In summary, cognitivists and emotivists agree that music is drawn from life experiences and has an emotional affect on individuals. Emotion in music is described as either being real or aesthetic, and in some instances as both aesthetic and real. Other sources of affective response to music are unconscious reactions hardwired into the brain, to conditioned responses, to memorable connections, to culturally specific responses. Applications of these theories to specific compositional devices are suggested by the author.


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