Musical understanding, musical works, and emotional expression: Implications for education

Educational Philosophy and Theory 37 (1):93–103 (2005)
  Copy   BIBTEX

Abstract

What do musicians, critics, and listeners mean when they use emotion‐words to describe a piece of instrumental music? How can ‘pure’ musical sounds ‘express’ emotions such as joyfulness, sadness, anguish, optimism, and anger? Sounds are not living organisms; sounds cannot feel emotions. Yet many people around the world believe they hear emotions in sounds and/or feel the emotions expressed by musical patterns. Is there a reasonable explanation for this dilemma? These issues gain additional importance when we ask them in the context of music education. For example, can we, or should we, teach music students to listen‐for musical expressions of emotion? If so, how? My contention is that listeners can and do hear emotions in musical patterns; musical sounds can be expressive of emotions. Accordingly, I offer ideas for teaching students how to hear and create musical expressions of emotions

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 74,649

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2009-01-28

Downloads
129 (#95,842)

6 months
6 (#124,445)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

David Elliott
New York University

Citations of this work

No citations found.

Add more citations

References found in this work

Themes in the Philosophy of Music.Stephen Davies - 2003 - Oxford University Press.
Themes in the Philosophy of Music.Stephen Davies - 2004 - Journal of Aesthetics and Art Criticism 62 (4):397-399.
Themes in the Philosophy of Music.Saam Trivedi - 2003 - Journal of Aesthetic Education 37 (3):108.

View all 12 references / Add more references