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| Overture | |
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| Introduction: Aims, organization, and terminology | |
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| Multidisciplinary Perspectives | |
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| Emotions expressed and aroused by music: Philosophical perspectives | |
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| Emotion in culture and history: Perspectives from musicology | |
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| At the interface between the inner and outer world: Psychological perspectives | |
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| Towards a neurobiology of musical emotions | |
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| Exploring the habitus of listening: Anthropological perspectives | |
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| Emotion as social emergence: Perspectives from music sociology | |
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| Measurement | |
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| Self-report measures and models | |
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| Continuous self-report methods | |
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| Indirect perceptual, cognitive, and behavioural measures | |
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| Psychophysiological measures | |
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| Functional neuroimaging | |
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| Music Making | |
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| Emotion and composition in classical music: Historiometric perspectives | |
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| The role of structure in the musical expression of emotions | |
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| Emotion and motivation in the lives of performers | |
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| The role of negative emotions in performance anxiety | |
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| Expression and communication of emotion in music performance | |
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| Music Listening | |
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| Music in everyday life: The role of emotions | |
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| Experimental aesthetics and liking for music | |
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| Strong experiences with music | |
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| Musical expectancy and thrills | |
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| How does music evoke emotions? Exploring the underlying mechanisms | |
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| Development, Personality and Social Factors | |
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| Perspectives on music and affect in the early years | |
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| Preference, personality, and emotion | |
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| The influence of affect on music choice | |
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| Politics, mediation, social context, and public use | |
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| Cross-cultural similarities and differences | |
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| Applications | |
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| Music education: the role of affect | |
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| Music therapy | |
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| Music, health, and well-being | |
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| Music as a source of emotion in film | |
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| Music and marketing | |
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| Encore | |
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| The past, present, and future of music and emotion research | |
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