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Abstract Music is perhaps the most widely practised and appreciated of all art forms. Part of the appeal of music may lie in its ability to induce and represent emotions (cf. Budd 1985; Davies 1994; Meyer 1956; see also Sloboda Persson et al. 1996; Woody 2000) and biographical accounts (Blum 1977; Kennedy 1990; Schumacher 1995; Seckerson 1991) have suggested that many performers conceive of performance in terms of emotions, moods, or scenarios.
Patrik N. Juslin (Thu,) studied this question.