Skip to main content Accessibility help
  • Print publication year: 2014
  • Online publication date: March 2015

21 - Unusual aesthetic states

from PART IV - Contemporary issues and debates

Related content

Powered by UNSILO


Ali, S. O., and Peynircioglu, Z. F. (2006). Songs and emotions: Are lyrics and melodies equal partners?Psychology of Music, 34, 511–34.
Anfam, D. (1998). Mark Rothko: The works on canvas. New Haven, CT: Yale University Press.
Arcand, K. K., Watzke, M., Smith, L. F., and Smith, J. K. (2010). Surveying aesthetics and astronomy: A project exploring the public’s perception of astronomical images and the science within. CAP Journal, 10, 13–16.
Armstrong, T., and Detweiler-Bedell, B. (2008). Beauty as an emotion: The exhilarating prospect of mastering a challenging world. Review of General Psychology, 12, 305–29.
Augustin, M. D., Wagemans, J., and Carbon, C. C. (2012). All is beautiful? Generality vs. specificity of word usage in visual aesthetics. Acta Psychologica, 139, 187–201.
Benedek, M., Wilfling, B., Lukas-Wolfbauer, R., Katzur, B., and Kaernbach, C. (2010). Objective and continuous measurement of piloerection. Psychophysiology, 47, 989–93.
Benedek, M., and Kaernbach, C. (2011). Physiological correlates and emotional specificity of human piloerection. Biological Psychology, 86, 320–29.
Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York: McGraw-Hill.
Berlyne, D. E. (1967). Arousal and reinforcement. Nebraska Symposium on Motivation, 15, 1–110.
Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
Berlyne, D. E. (1974). Novelty, complexity, and interestingness. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics (pp. 175–80). Washington, D.C.: Hemisphere.
Blood, A. J., and Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences, USA, 98, 11,818–23.
Bonner, E. T., and Friedman, H. L. (2011). A conceptual clarification of the experience of awe: An interpretative phenomenological analysis. The Humanistic Psychologist, 39, 222–35.
Braud, W. (2001). Experiencing tears of wonder-joy: Seeing with the heart’s eye. Journal of Transpersonal Psychology, 33, 99–111.
Bronstad, P., Langlois, J. H., and Russell, R. (2008). Computational models of facial attractiveness judgments. Perception, 37, 126–42.
Butler, R. A. (1953). Discrimination learning by rhesus monkeys to visual-exploration motivation. Journal of Comparative and Physiological Psychology, 46, 95–98.
Cohen, A. B., Gruber, J., and Keltner, D. (2010). Comparing spiritual transformations and experiences of profound beauty. Psychology of Religion and Spirituality, 2, 127–35.
Costa, P. T., and McCrae, R. R. (1992). NEO PI-R Professional Manual. Odessa, FL: Psychological Assessment Resources.
Craig, D. G. (2005). An exploratory study of physiological changes during “chills” induced by music. Musicae Scientiae, 9, 273–87.
Craig, D. G. (2009). Exploring music preference: Meaningfulness of music as a function of emotional reactions. Nordic Journal of Music Therapy, 18, 57–69.
Crozier, J. B. (1974). Verbal and exploratory responses to sound sequences varying in uncertainty level. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics (pp. 27–90). Washington, D.C.: Hemisphere.
Csikszentmihalyi, M., and Lefevre, J. (1989). Optimal experience in work and leisure. Journal of Personality and Social Psychology, 56, 815–22.
Darwin, C. (1872/1998). The expression of the emotions in man and animals (3rd edition). New York: Oxford University Press.
Denny, K. (2008). Beauty and intelligence may – or may not – be related. Intelligence, 36, 616–18.
Fechner, G. T. (1876). Vorschule der Ästhetik. Leipzig: Breitkopf und Härtel.
Fehr, B., and Russell, J. A. (1984). Concept of emotion viewed from a prototype perspective. Journal of Experimental Psychology: General, 113, 464–86.
Gabrielsson, A. (2006). Strong experiences elicited by music – what music? In P. Locher, C. Martindale and L. Dorfman (Eds.),New directions in aesthetics, creativity, and the arts (pp. 251–67). Amityville, NY: Baywood.
Goldstein, A. (1980). Thrills in response to music and other stimuli. Physiological Psychology, 8, 126–29.
Gordon, K. (1909). Esthetics. New York: Henry Holt.
Grewe, O., Nagel, F., Kopiez, R., and Altenmüller, E. (2007). Listening to music as a recreative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24, 297–314.
Grewe, O., Kopiez, R., and Altenmüller, E. (2009). The chill parameter: Goose bumps and shivers as promising measures in emotion research. Music Perception, 27, 61–74.
Guhn, M., Hamm, A., and Zentner, M. (2007). Physiological and musico-acoustic correlates of the chill response. Music Perception, 24, 473–83.
Harlow, H. F. (1953). Mice, monkeys, men, and motives. Psychological Review, 60, 23–32.
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.
Huron, D., and Margulis, E. H. (2010). Musical expectancy and thrills. In P. N. Juslin and J. A. Sloboda (Eds.),Handbook of music and emotion: Theory, research, applications (pp. 575–604). New York: Oxford University Press.
Jacobsen, T., Buchta, K., Köhler, M., and Schörger, E. (2004). The primacy of beauty in judging the aesthetics of objects. Psychological Reports, 94, 1,253–60.
Jones, B. C., DeBruine, L. M., and Little, A. C. (2007). The role of symmetry in attraction to average faces. Perception and Psychophysics, 69, 1,273–77.
Juslin, P. N., Liljeström, S., Västfjäll, D., Barradas, G., and Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion, 8, 668–83.
Kanazawa, S. (2011). Intelligence and physical attractiveness. Intelligence, 39, 7–14.
Keltner, D., and Haidt, J. (2003). Approaching awe, a moral, spiritual, and aesthetic emotion. Cognition and Emotion, 17, 297–314.
Labott, S. M., and Martin, R. B. (1988). Weeping: Evidence for a cognitive theory. Motivation and Emotion, 12, 205–16.
Langlois, J. H., Kalakanis, L., Rubenstein, A. J., Larson, A., Hallam, M., and Smoot, M. (2000). Maxims or myths of beauty? A meta-analytic and theoretical review. Psychological Bulletin, 126, 390–423.
Leder, H., Belke, B., Oeberst, A., and Augustin, A. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489–508.
Martindale, C., and Moore, K. (1988). Priming, prototypicality, and preference. Journal of Experimental Psychology: Human Perception and Performance, 14, 661–70.
McCrae, R. R. (2007). Aesthetic chills as a universal marker of openness to experience. Motivation and Emotion, 31, 5–11.
Miceli, M., and Castelfranchi, C. (2003). Crying: Discussing its basic reasons and uses. New Ideas in Psychology, 21, 247–73.
Nagel, F., Kopiez, R., Grewe, O., and Altenmüller, E. (2008). Psychoacoustical correlates of musically induced chills. Musicae Scientiae, 12, 101–13.
Nusbaum, E. C., and Silvia, P. J. (2011). Shivers and timbres: Personality and the experience of chills from music. Social Psychological and Personality Science, 2, 199–204.
Panksepp, J. (1995). The emotional sources of “chills” induced by music. Music Perception, 13, 171–207.
Pelowski, M., and Akiba, F. (2011). A model of art perception, evaluation, and emotion in transformative aesthetic experience. New Ideas in Psychology, 29, 80–97.
Rawlings, D., and Leow, S. H. (2008). Investigating the role of psychoticism and sensation seeking in predicting emotional reactions to music. Psychology of Music, 36, 269–87.
Reber, R. (2012). Processing fluency, aesthetic pleasure, and culturally shared taste. In A. Shimamura and S. E. Palmer (Eds.), Aesthetic science: Connecting minds, brains, and experience (pp. 221–49). New York: Oxford University Press.
Rickard, N. S. (2004). Intense emotional responses to music: A test of the physiological arousal hypothesis. Psychology of Music, 32, 371–88.
Roye, A., Höfel, L., and Jacobsen, T. (2008). Aesthetics of faces: Behavioral and electro-physiological indices of evaluative and descriptive judgment processes. Journal of Psychophysiology, 22, 41–57.
Russell, P. A. (1994). Preferability, pleasingness, and interestingness: Relationships between evaluative judgments in empirical aesthetics. Empirical Studies of the Arts, 12, 141–57.
Salimpoor, V. N., Benovoy, M., Larcher, K., Dagher, A., and Zatorre, R. J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience, 14, 257–62.
Schneider, K. J. (2004). Rediscovery of awe: Splendor, mystery, and the fluid center of life. St. Paul, MN: Paragon House.
Schneider, K. J. (2009). Awakening to awe: Personal stories of profound transformation. Lanham, MD: Jason Aronson.
Shiota, M. N., Keltner, D., and John, O. P. (2006). Positive emotion dispositions differentially associated with Big Five personality and attachment style. Journal of Positive Psychology, 1, 61–71.
Shiota, M. N., Keltner, D., and Mossman, A. (2007). The nature of awe: Elicitors, appraisals, and effects on self-concept. Cognition and Emotion, 21, 944–63.
Silvia, P. J. (2006). Exploring the psychology of interest. New York: Oxford University Press.
Silvia, P. J. (2008). Interest – The curious emotion. Current Directions in Psychological Science, 17, 57–60.
Silvia, P. J. (2009). Looking past pleasure: Anger, confusion, disgust, pride, surprise, and other unusual aesthetic emotions. Psychology of Aesthetics, Creativity, and the Arts, 3, 48–51.
Silvia, P. J. (2012a). Curiosity and motivation. In R. M. Ryan (Ed.), Oxford handbook of motivation (pp. 157–66). New York: Oxford University Press.
Silvia, P. J. (2012b). Human emotions and aesthetic experience: An overview of empirical aesthetics. In A. P. Shimamura and S. E. Palmer (Eds.), Aesthetic science: Connecting minds, brains, and experience (pp. 250–75). New York: Oxford University Press.
Silvia, P. J., and Nusbaum, E. C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5, 208–14.
Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19, 110–20.
Sloboda, J. A., O’Neill, S., and Ivalidi, A. (2001). Functions of music in everyday life: An exploratory study using experience sampling method. Musicae Scientiae, 5, 9–32.
Smith, L. F., and Smith, J. K. (2006). The nature and growth of aesthetic fluency. In P. Locher, C. Martindale and L. Dorfman (Eds.), New directions in aesthetics, creativity, and the arts (pp. 47–58). Amityville, NY: Baywood.
Smith, L. F., Smith, J. K., Arcand, K. K., Smith, R. K., Bookbinder, J., and Keach, K. (2011). Aesthetics and astronomy: Studying the public’s perception and understanding of imagery from space. Science Communication, 33, 201–38.
Sternberg, R. J., and Lubart, T. I. (1992). Buy low and sell high: An investment approach to creativity. Current Directions in Psychological Science, 1, 1–5.
Tomkins, S. S. (1962). Affect, imagery, consciousness: Vol. I, The positive affects. New York: Springer.
Turner, S. A., Jr., and Silvia, P. J. (2006). Must interesting things be pleasant? A test of competing appraisal structures. Emotion, 6, 670–74.
Tsutsui, A., and Ohmi, G. (2011). Complexity scale and aesthetic judgments of color combinations. Empirical Studies of the Arts, 29, 1–15.
Valentine, C. W. (1913). An introduction to the experimental psychology of beauty. London: T. C. and E. C. Jack.
Vingerhoets, A. J. J. M., and Cornelius, R. R. (Eds.) (2001). Adult crying: A biopsychosocial approach. Philadelphia, PA: Taylor and Francis.