Musical Expression

Book Chapter in _Punk and Philosophy: God Save the Queen (of the Sciences)_, ed. Josh Heter and Richard Greene.

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

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 (...) anthropology and ethnomusicology. (shrink)

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, (...) its application to Alban Berg’s work. (shrink)

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 (...) mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

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 (...) examines a type of scepticism about music’s expressive ability made influential by Eduard Hanslick and considers to what extent it can be answered. The chapter concludes that, while the extreme scepticism espoused by Hanslick cannot be sustained, his discussion teaches us deep lessons about the expressive indeterminacy involved in music. The chapter illustrates some of the issues it deals with through an analysis of the slow movement of Beethoven’s Piano Concerto No. 4 in G Major and explores the connection between meaning in music and meaning in poetry. (shrink)

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 (...) the results of psychological research support a more complex view, which ac-knowledges different types of meaning. The main aim of the paper is to examine the contribution of experimental psychological research for the philosophical debates on musical meaning. Certain studies of behavioral and neurological reactions to musical stimuli have revealed interesting relationships between the processing of syntax, semantics, and emotion in mu-sic. After presenting three main philosophical views on musical meaning, the paper discusses the results and implications of three experimental psychological studies, and their relevance for the philosophical views. It is argued in the paper that the experimental results enrich the classical philosophical debate on meaning in music. The original contribution of the paper con-sists in suggesting a way to connect the philosophical debates on musical meaning with the experimental psychological research. The implications of the paper will reveal higher complexity of the issue of musical meaning than is implicitly supposed in the theoretical debates. The second important implication is the suggestion of a way in which philosophical questions concerning music can be approached with the help of experimental psychology in future research. (shrink)

In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list (...) five challenges the hypothesis is supposed to meet. Although my list of challenges does not aim at exhaustiveness, I believe that the hypothesis must meet all of the challenges I suggest if it is to work as a cornerstone for a theory of musical expressiveness. (shrink)

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.

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...) the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct (...) from ontologies of recordings or improvisations. Finally, I explore two aspects of dance music's aesthetics: its connection with repetition and repetitiveness and its use of electronic sounds and technologies. I conclude with some speculative thoughts about the unique relation dance music bears to repetition and electronics. This article is Part II of two; in Part I, I consider the problem of defining dance music, via the framing question of authenticity. I explore history, genre, scenes and subcultures, and blackness. (shrink)

In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.

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.

In this essay, I have researched the artistic and political philosophy of the Situationist International – a revolutionary movement that has made a great impact on contemporary culture. Using the foundation of this research, I have then built on it with my own hypotheses and speculations on the meaning of art as we know it – questioning what defines true creativity and “authentic experience”. I then draw conclusions as to the successes and failures of the Situationist International, what we can (...) learn from them, and, along with the concepts I developed during the essay, how we can use the positive aspects of their work to contribute to our own “self-theory” and artistic approach. (shrink)

An overview of analytic philosophy of music.

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.

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 .

Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...) For conducting is to make oneself understood by an orchestra rather than to impact on it causally. A better way of making sense of the relationship between conductor and orchestra is offered by the theory of the social contract. That idea should be supplemented by an account of the relationship between the conductor who gesturally embodies the music’s expression on the one hand and the audience on the other hand. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...) the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

Abstract The aim of this paper is to examine the propaganda power of Madison’s Solidarity Sing-Along. To do so, I will modify the Epistemic Merit Model of propaganda so that it can account for a broader spectrum of propaganda. I will show how this is consistent with other accounts of musical pragmatics and the potential political function of songs and music. This will provide the ground for a robust interpretation of the political meanings of the Solidarity Sing-Along. I will assume (...) the Madison protests and the Solidarity Sing-Along can be considered a paradigm case of peaceful protest as it has been claimed that the Madison protest and the role of art within those protests set the stage for the Occupy Movement protests later in the same year. (shrink)

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 (...) attributed to myth. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...) the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...) the resemblance theory. New and compelling psychological evidence supports the theory. The essay also argues that new psychological evidence indicates that convention makes a smaller contribution to musical expressiveness than Kivy and Davies believe. (shrink)

Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...) musical dissonance is articulate. While pain’s presence in music has to be mediated and in a way remote, it can be more differentiated than any immediate natural expression of it. Pain itself offers no structure to those who are overcome by it; rather it tends to disintegrate their lives. Music, on the other hand, is audible order in time. Such order may thus appear to be merely imposed on pain; yet it can also reveal something about pain by way of contextualizing it. (shrink)

This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.

This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...) to synthesize or reject traditional philosophical differences. (shrink)

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...) Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path. (shrink)

In 1885, the Austrian music critic and scholar Friedrich von Hausegger published his book “Die Musik als Ausdruck” (“Music as Expression”) which may be understood as an answer to Eduard Hanslick’s “Vom Musikalisch-Schönen” (“On the Musically Beautiful”, 1854). Unlike Hanslick, Hausegger takes the body as central to any adequate account of music. Hence Charles Darwin’s theory of evolution, in particular his book “The Expression of Emotions in Man and Animals” (1872), becomes a central reference for Hausegger. His treatise is a (...) detailed and systematic reconstruction of the probable development of musical expression. The new edition is the first to present the complete text of the second edition of 1887 (amended by Hausegger) in modern Latin typeface. (shrink)

In this eloquent book, Daniel Barenboim draws on his profound and uniquely influential engagement with music to argue for its central importance in our everyday lives.

Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.

Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...) expressive properties are purely sonic, then music expresses less than we think it does. And if the expressive properties of music are visual as well as sonic, then music is not what we think it is—it is not purely sonic. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...) its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

Christopher Peacocke's paper presents a characteristically rich and original theory of the so-called expressive qualities of music. It is, surely, impossible to come to a verdict on such an interesting theory quickly, and it will, no doubt, attract continuing and merited attention. The purpose of my preliminary reflections is to raise some questions about the proposal and to express some reservations, but I see these remarks as simply opening and inconclusive ones in a longer dialogue. I am going to divide (...) my comments into two parts. The first set is brief and relates to the content of Peacocke's theory. The second set expresses doubts as to the importance in our musical life of anything corresponding to Peacocke's hearing metaphorically-as (allowing that we do understand what it is). (shrink)

A memoir by the great pianist, conductor and internationalist Daniel Barenboim.

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...) musical dissonance is articulate. While pain’s presence in music has to be mediated and in a way remote, it can be more differentiated than any immediate natural expression of it. Pain itself offers no structure to those who are overcome by it; rather it tends to disintegrate their lives. Music, on the other hand, is audible order in time. Such order may thus appear to be merely imposed on pain; yet it can also reveal something about pain by way of contextualizing it. (shrink)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...) the sui generis musical persona of musical expressiveness. (shrink)

This book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music's development may be transformed by insights into the nature of modernity provided by other historical disciplines.

Of the many difficult questions that populate the rather treacherous terrain of the philosophy of music, the one that perplexes and interests me the most often crops up in various guises in the myriad books of‘ Quotations for music lovers’ and such like. The following version may be said to capture its fundamental idea. Given that music doesn’t seem in any obvious sense to be about anything precisely, why do we seem to think that it conveys so much so strongly?

The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley's book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the (...) form of distinguishing between two distinct notions of generality (which I term ‘generality’ and ‘abstractness’) and of particularity (‘specificity’ and ‘concreteness’), and of constructing two relatively independent oppositions: the concrete versus the abstract and the specific versus the general. Finally, I show that a description of music's expressive meaning as abstract, but specific, rightly captures what is usually thought about music, and does not entail any contradictions. (shrink)

Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings express their emotions in behaviour (...) and utterance. In cognitivist theories listeners are not supposed to have any reactionary feelings to the expressed emotions, whereas ‘arousalists’ (e.g. Matravers 1998) emphasize that a listener’s experience of expression involves an aroused feeling that is related to the expressed emotion; this aroused feeling makes it the case that we describe music as melancholic, for instance. The third type of philosophical theory of expressivity is the symbolist account (Addis 1999, Langer 1951) whose defenders regard music as isomorphic with our feelings and states of consciousness; in particular, special stress is laid on the idea that music is capable of presenting these ineffable states. (shrink)

Wittgenstein’s thinking on music is intimately linked to core issues in his work on the philosophy of psychology. I argue that inasmuch musical experience exemplifies the kind of grammatical complexity that is indigenous to aspect perception and, in general, to concepts that are based on physiognomy, it is rendered by Wittgenstein as a form of knowledge, namely, knowledge of mankind.

The subject of the article is conducting as typically known from the classical symphonic practice. The question to be discussed is: In what respect is the conductor’s beat properly to be understood as ”signing” within the frames of a sign language, and as such a proper object of semiotic analysis. My approach to the topic is primarily phenomenological. It makes analytical comments on the task of the conductor; to the very nature of the cooperative and communicative framework embedding the conductor (...) and the musicians; and hence to the constitutional conditions for conducting. The conclusion is that in many important respects conducting is not a matter of signing and there is no such thing as a conductor’s sign language. It will be outlined how the connection between music, musicians and conductor is based on analogies between music, corporeality and onto-temporality. (shrink)