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  1. Immersive Sonic Elements from Greek and Roman Ritual through Contemporary Christian Worship: A Closer Walk with Thee.Jeff Hawley - manuscript
    As the lyrics to the traditional nineteenth century gospel hymn state, one of the goals of many magical and religious practices is to experience ‘a closer walk with Thee,’ coming into the presence of the holy in both figurative and arguably literal terms. One of the many ways to improve this likelihood of achieving the deep and immersive presence of the holy—described by the scholar of comparative religion Rudolf Otto as the “gentle tide, [the] pervading [of] the mind with a (...)
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  2. Peter Kivy, Sacred Music, and Affective Response: Knowing God Through Music.Julian Perlmutter - manuscript
    Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...)
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  3. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...)
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  4. Musical scaffolding and the pleasure of sad music: Comment on “An Integrative Review of the Enjoyment of Sadness Associated with Music".Joel Krueger - forthcoming - Physics of Life Reviews.
    Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that may help (...)
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  5. Cross-Domain Descriptions: The Sensory and the Psychological.Michelle Liu - forthcoming - Philosophical Quarterly.
    Cross-domain descriptions are descriptions of features pertaining to one domain in terms of vocabulary primarily associated with another domain. Notably, we routinely describe psychological features in terms of the sensory domain and vice versa. Sorrow is said to be ‘bitter’ and fear ‘cold’. Music can be described as ‘happy’, ‘sad’, ‘mournful’ and so on. Such descriptions are rife in both everyday discourse and literary writings. What is it about psychological features that invites descriptions in sensory terms and what is it (...)
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  6. Tendere l’orecchio. L’attenzione nel processo uditivo: neuroscienze e antropologia in dialogo.Elia Gonnella - 2022 - Palaver 11 (2):231-248.
    Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...)
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  7. Where Does Music End and Nonmusic Begin? Fine-tuning the “Naturalist Response” Problem for Nontonal Music’s Naturalistic Critics.Lantz Fleming Miller - 2022 - Journal of Comparative Literature and Aesthetics 45 (1):354-368.
    As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal focus (...)
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  8. Música y dolor a través de Nietzsche y Adorno: Pautas para una semiótica filosófica de la música (Music and Pain through Nietzsche and Adorno: Guidelines for a Philosophical Semiotics of Music ).Marco Parmeggiani - 2022 - Estudios Nietzsche 22:97-131.
    In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...)
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  9. Música y dolor a través de Nietzsche y Adorno: Pautas para una semiótica filosófica de la música (Music and Pain through Nietzsche and Adorno: Guidelines for a Philosophical Semiotics of Music).Marco Parmeggiani - 2022 - Estudios Nietzsche 22:97-131.
    In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...)
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  10. Moved by Music Alone.Tom Cochrane - 2021 - British Journal of Aesthetics 61 (4):455-470.
    In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...)
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  11. Meaning and Scepticism.Paul Boghossian - 2020 - In Tomás McAuley, Nanette Nielsen, Jerrold Levinson & Ariana Phillips-Hutton (eds.), The Oxford Handbook of Western Music and Philosophy. OUP. pp. 785-804.
    This chapter revisits the classic questions whether absolute music can express extra-musical meaning and whether such meaning should be thought of as playing an important role in our understanding and appreciation of music. It argues that music’s expressive ability plays a central role in our conception of its phenomenology and value—in our perception of music as expressive and in its capacity to move us, both in the understudied generic sense, and in the sense of arousing specific emotions in us. It (...)
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  12. Philosophy of Western Music: A Contemporary Introduction.Andrew Kania - 2020 - New York, USA: Routledge.
    This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly defended (...)
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  13. Sacred Music, Religious Desire and Knowledge of God: The Music of Our Human Longing.Julian Perlmutter - 2020 - London, UK: Bloomsbury Academic.
    Many people find sacred choral music profound and deeply evocative, even in societies that seem to be turning away from religious belief. In this book, Julian Perlmutter examines how, in light of its wide appeal, sacred music can have religious significance for people regardless of their religious convictions. -/- By differentiating between doctrinal belief and the desire for God, Perlmutter explores a longing for the spiritual that is compatible with both belief and 'interested non-belief'. He describes how sacred music can (...)
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  14. Psychological Research and Philosophical Debates on Musical Meaning.Sanja Sreckovic - 2020 - In Blanka Bogunović & Sanela Nikolić (eds.), Proceedings of PAM-IE Belgrade 2019. Belgrade: Faculty of Music, University of Arts in Belgrade. Belgrade: Faculty of Music, University of Arts in Belgrade. pp. 183-189.
    The question of meaning in music has been discussed by numerous philosophers of music. On one end of the philosophical spectrum, the meaning in music is understood as “specifically musical” meaning, i.e. the meaning exhausted by the musical ideas. The other end of the spectrum is occupied by the view that the meaning in music is emotional, consisting of the ex-pression or representation of emotions by music, i.e. that the meaning in music is emotional meaning. The paper will demonstrate that (...)
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  15. Toward a naturalized aesthetics of film music: An interdisciplinary exploration of intramusical and extramusical meaning.Timothy Justus - 2019 - Projections 13 (3):1–22.
    In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...)
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  16. Appearance Emotionalism in Music: Analysis and Criticism.Matteo Ravasio - 2019 - Journal of Aesthetic Education 53 (3):93-105.
    This paper is composed of two related parts. The first raises questions regarding the characterisation of the phenomenology of music listening required by Davies’s theory of musical expressiveness, appearance emotionalism. I will identify two possible readings of the theory, a thick and a thin one, and claim that the former represents the basic characterisation of what it is to hear expressive music according to appearance emotionalism. The thick characterisation is to be preferred, I will claim, both on the grounds of (...)
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  17. Music between Philosophy and Science: The Applicability of Scientific Results to the Philosophy of Music.Sanja Sreckovic - 2019 - Dissertation, University of Belgrade
    The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether the results (...)
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  18. An Aesthetic of Horror Film Music.Ka Chung Lorraine Yeung - 2019 - Film and Philosophy 23:159-178.
    In this paper I develop an aesthetic of horror film music based on the film sound theorist Kevin Donnelly's "direct access thesis". This states that horror film scores have the power to provide "direct accesses" to the bodies of an audience; they "produce bodily sensations, excite (mainly negative) emotions and insert in the audience "frames of mind and attitudes...much like a direct injection". I first argue that two dominant theories in the field, namely, the culturalist theory of film music and (...)
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  19. Form and meaning in music: Revisiting the affective character of the major and minor modes.Timothy Justus, Laura Gabriel & Adela Pfaff - 2018 - Auditory Perception and Cognition 1 (3–4):229–247.
    Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...)
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  20. Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (at least potentially) scaffold various (...)
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  21. Group Flow.Tom Cochrane - 2017 - In Micheline Lesaffre, Pieter-Jan Maes & Marc Leman (eds.), The Routledge Companion of Embodied Music Interaction. London, UK: Routledge. pp. 133-140.
    In this chapter I analyse group flow: a state in which performers report intense interpersonal absorption with the music and each other. I compare group flow to individual flow, and argue that the same essential structure can be discerned. I argue that group flow does not justify an anti-representationalist enactivist interpretation. However, I claim that the cognitive task in which the music is produced is irreducibly collective.
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  22. Emotions in the Listener: A Criterion of Artistic Relevance.Matteo Ravasio - 2017 - American Society for Aesthetics Graduate E-Journal 9 (1).
    Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...)
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  23. Stephen Davies on the Issue of Literalism.Matteo Ravasio - 2017 - Debates in Aesthetics 13 (1).
    In this paper I discuss Stephen Davies’s defence of literalism about emotional descriptions of music. According to literalism, a piece of music literally possesses the expressive properties we attribute to it when we describe it as ‘sad’, ‘happy’, etc. Davies’s literalist strategy exploits the concept of polysemy: the meaning of emotion words in descriptions of expressive music is related to the meaning of those words when used in their primary psychological sense. The relation between the two meanings is identified by (...)
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  24. On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  25. The Who and Philosophy.Rocco J. Gennaro & Casey Harison (eds.) - 2016 - Lexington Books.
    The Who was one of the most influential of the 1960s British Invasion bands—not just because of their loud and occasionally destructive stage presence—but also because of its smart songs and albums such as “My Generation,” Who’s Next, Tommy, and Quadrophenia, in which they explored themes such as frustration, angst, irony, and a youthful inclination to lash out. This collection explores the remarkable depth and breadth of the Who’s music through a philosophical lens.
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  26. Wittgenstein reimagines musical depth.Eran Guter - 2016 - In Stefan Majetschak Anja Weiberg (ed.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Art, Contributions to the 39th International Wittgenstein Symposium (Kirchberg am Wechsel: ALWS, 2016). pp. 87-89.
    I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...)
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  27. The Music Between Us: Is Music a Universal Language? by Kathleen Marie Higgins. [REVIEW]Tom Cochrane - 2015 - Mind 124 (496):1288-1292.
  28. Ästhetik des Fado.Andreas Dorschel - 2015 - Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
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  29. Musicing, Materiality, and the Emotional Niche.Joel Krueger - 2015 - Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought (...)
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  30. Empathy beyond the head: Comment on "Music, empathy, and cultural understanding".Joel Krueger - 2015 - Physics of Life Reviews 15:92-93.
  31. Music as atmosphere. Lines of becoming in congregational worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...)
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  32. The Expressiveness of Music.Sanja Sreckovic - 2015 - Theoria: Beograd 58 (3):19-39.
    The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as „expressiveness“. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.
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  33. Music feels like moods feel.Kris Goffin - 2014 - Frontiers in Psychology 5:327.
    While it is widely accepted that music evokes moods, there is disagreement over whether music-induced moods are relevant to the aesthetic appreciation of music as such. The arguments against the aesthetic relevance of music-induced moods are: moods cannot be intentionally directed at the music and music-induced moods are highly subjective experiences and are therefore a kind of mind-wandering. This paper presents a novel account of musical moods that avoids these objections. It is correct to say that a listener’s entire mood (...)
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  34. Music and the continuous nature of the mind.Timothy Justus - 2014 - Music Perception 31 (4):387–391.
    In this essay, Timothy Justus reviews the book Brain and Music (2012) by Stefan Koelsch, first providing a sketch of the book’s contents, including examples of Koelsch’s empirical work from four core areas (1) musical syntax, (2) musical semantics, (3) music and action, and (4) music and emotion. Justus then proceeds to discuss the continuous nature of cognitive domains and the continuous nature of mental activity.
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  35. Musicality in human evolution, archaeology and ethnography: Iain Morley: The prehistory of music: human evolution, archaeology, and the origins of musicality. Oxford University Press, Oxford, 2013.Anton Killin - 2014 - Biology and Philosophy 29 (4):597-609.
    This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...)
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  36. Emotions and Understanding in Music.Vojtěch Kolman - 2014 - Idealistic Studies 44 (1):83-100.
    The aim of this paper is to sketch a theory of musical experience which takes the empirical research seriously without abandoning or neglecting music’s transcendental features. The tension between the recent empirical approach, as represented particularly by Huron’s ITPRA theory, and the transcendental fact that music as an instance of art is something one can understand and, moreover, can understand oneself through, should be overcome by elaborating on the concept of emotion and the role it can play in musical understanding. (...)
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  37. Musical Manipulations and the Emotionally Extended Mind.Joel Krueger - 2014 - Empirical Musicology Review 9 (3-4):208-212.
    I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.
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  38. Eduard Hanslick's Formalism and His Most Influential Contemporary Critics.Sanja Sreckovic - 2014 - Belgrade Philosophical Annual 27:113-134.
    The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Musically Beautiful, which is taken to be the foundingwork of the aesthtetics of music. In the paper I propose an interpretation of Hanslick’s treatise which differs on many points from the interpretations displayed in the works of several most influential contemporary aestheticians of music. My main thesis is that Hanslick’s treatise is misunderstood and incorrectly presented by these authors. I try to demonstrate this thesis (...)
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  39. Musical Meaning in Between: Ineffability, Atmosphere and Asubjectivity in Musical Experience.Tere Vadén & Juha Torvinen - 2014 - Journal of Aesthetics and Phenomenology 1 (2):209-230.
    ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...)
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  40. Critique of Pure Music.James O. Young - 2014 - Oxford University Press.
    James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.
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  41. On the resistance of the instrument.Tom Cochrane - 2013 - In Tom Cochrane, Klaus Scherer & Bernardino Fantini (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford: pp. 75-83.
    I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.
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  42. The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control.Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.) - 2013 - Oxford University Press.
    How can an abstract sequence of sounds so intensely express emotional states? In the past ten years, research into the topic of music and emotion has flourished. This book explores the relationship between music and emotion, bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers .
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  43. Empathy, enaction, and shared musical experience.Joel Krueger - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Expression, Arousal and Social Control. Oxford University Press. pp. 177-196.
  44. Affordances and the musically extended mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  45. Art and Emotion.Hichem Naar - 2013 - Internet Encyclopedia of Philosophy.
    A survey of some of the major issues surrounding our emotional responses to artworks. Topics discussed include the paradox of fiction, the paradox of tragedy, and the nature of emotion in response to music.
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  46. The Ethics of Singing Along: The Case of “Mind of a Lunatic”.Aaron Smuts - 2013 - Journal of Aesthetics and Art Criticism 71 (1):121-129.
    In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...)
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  47. Aesthetic concepts, perceptual learning, and linguistic enculturation: Considerations from Wittgenstein, language, and music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...)
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  48. Einführung zu den Schriften [Richard Wagners].Andreas Dorschel - 2012 - In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter. pp. 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical content (...)
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  49. Why Music Moves Us. By Jeanette Bicknell.William A. Everett - 2012 - The European Legacy 17 (3):407 - 408.
    The European Legacy, Volume 17, Issue 3, Page 407-408, June 2012.
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  50. Getting Emotional Over Contours: Response to Seeley.Christy Mag Uidhir - 2012 - Essays in Philosophy 13 (2):518-521.
    Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.
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