![]() Here, we argue that for music and emotion science to advance and address these remaining theoretical issues, the field must incorporate skeptical ideas, in turn, allowing the relevance and meaning of a stimulus to be central in music-emotion research. However, a focus solely on music-emotion theories has neglected developments in the wider affective sciences, specifically skeptical emotion theories ( Moors, 2017), which emphasize the role of goal-directed appraisal in contextual and individual differences. Warrenburg's (2020) review of music-emotion theories notes remaining theoretical issues such as contextual and individual differences can be informed by direct testing of constructionist theories using emotional “granularity” of discrete terms (e.g., hot-anger, cold-anger). Nonetheless, multiple theories representing different perspectives exist. Juslin (2019) has presented a popular interpretation of the discrete model - the BRECVEMA. ![]() The discrete emotion paradigm (e.g., joy, anger, sadness) in music and emotion science has dominated theory generation and methodological practice over the last 30 years. ![]() One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. We conclude with a sections of recommendations for future research. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. ![]()
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