100 Books Like Emotion and Meaning in Music

Although this, John Sloboda’s first book, dates from 1985, its insights into music perception, performance, and appreciation remain relevant, and I would highly recommend those with an interest in music psychology devote some time to getting to grips with the ideas that are introduced—some of them for the first time.

Among the important topics that are covered are memory and learning, with clear implications for educators. It's definitely a book to have on your shelves!

I would heartily recommend this book to those interested in how musical abilities develop through childhood.

Hargreaves’ text was the first to put the developmental psychology of music on the map, identifying it as an important area of study for the first time and setting the scene for a major area of research in music psychology that continues to this day.

I love the way that Hargreaves combines empirical findings with observations of his own children in action, which makes it an engaging read.

Although the language in the title of this book may now sound dated, its content is certainly not. I regard it as a ‘classic’ text in the field of music psychology, which was taking off when Miller put pen to paper.

Musical Savants represents the first rigorous exploration of exceptional musical talent in children with learning difficulties. I particularly like how, through a series of carefully designed experiments, Miller shows the nature of exceptional musical talent and how this can co-exist with areas of cognitive deficit.

This is one of those rare textbooks that will make you smile with its delightful anecdotes that lighten what could so easily have become a dense academic treatise.

Huron writes in a warm, engaging way, producing an eminently readable book. He effortlessly shows how academic research findings affect the musical experience of ordinary listeners.

Sweet Anticipation serves as a great introduction to this important topic of how music makes sense and continues to move us, even after many repeated hearings of the same piece.

I remember reading this book over the summer when I was on the road with a recording company. It is filled with anecdotes about the metaphysical, transcendental, spiritual, and mystic properties of music. The thing I find so fascinating about these stories is not if they are true or not, but the belief systems of these ancient people, and the power and faith they put into music.

Even with my own years of experience as a musician and teaching sound design, I felt like an eager student basking in unexpected melodies of wisdom tales and humor behind the veil. Listening to Victor play his bass and tell his amazing, deep story is a truly spiritual journey that resonates to my core.

I got to meet him in person, and he’s the real deal. He’s not only a top professional with multiple Grammy awards but also an extraordinary, intimate storyteller and educator with a profound message about listening and following your intuitive guidance. 

Is music as universally positive and life-affirming as we think?

This book made me think twice about that idea. Yes, music lubricates our identities and can generate fellow feeling and a sense of well-being, but it can just as easily drive us apart. Think about pop’s repertoire of overtly sexist and racist songs, the booing of national anthems at sports events, and music reserved for the status acquisition practices of the elite, like opera.

What I like about David Hesmondhalgh’s exploration of why music matters is that it takes a balanced view of these questions. I use it a lot in teaching as an antidote to the somewhat lazy idea that music is *always* a force for social good. I also admire David’s ability to move from the somewhat abstract realms of moral philosophy to dancing bodies without losing sight of basic but important questions like social inequality.

If you want to delve into how music functions in the human mind and how it helps support communities and groups, then Anthony Storr’s is the book for you. Eminent psychiatrist, Oxford professor, and proficient pianist and violist, Storr (author of Churchill's Black Dog) uses his deep knowledge of philosophy, psychology, and religion to address questions like “Where does music come from?”, “Is music a common language for all humanity?” “How does music trigger emotions?” “Are our encounters with music in any way comparable with encountering persons?” Drawing on the work of Jung, Nietzsche, and Schopenhauer, Storr argues that music, like religion, is a feature of all human cultures. Like religion, it offers solace and comfort from the hardships of life.

However, music is not universal—different cultures develop their own musical traditions and conventions, just as they develop different political systems and different languages. What is universal, and this… show more.

Written in 1997, this was the first of many books (including the others on my list here) that united my experience in sound design, music, and neuroscience.

In an elegant and entertaining style, Jourdain embraces the theme from Pink Panther by Henry Mancini and illustrates the continuum of musical experience in tone, melody, harmony, rhythm, composition, listening, and understanding while revealing the hows and whys our brains perceive, integrate and elicit emotion. 

I keep referring to this seminal work, which helped me write my own book, and I feel grateful for Jourdain’s groundbreaking entry into this field.

There are many editions of Mozart’s letters, translated into a number of languages. While Emily Anderson’s Mozart writes more properly and formally than the composer himself actually did, the great value of her book is that it is the most comprehensive among English editions.

It includes all of Mozart’s own letters interwoven with hundreds from his correspondents–above all father Leopold. The ebb and flow of so much of Mozart’s remarkable life is captured in the volume: his views on music, musicians, styles and aesthetics; his dealings with the practicalities of life, including in wide-ranging musical and non-musical interactions with his father; and his emotions and personal and professional relationships. Above all, Mozart–and his correspondents–speak to us directly through their correspondence.