David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Oxford University Press (1959)
First published in 1959, this original study argues that the main characteristic of music is that it expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways. He supports this view with hundreds of musical examples, ranging from plainsong to Stravinsky, and contends that music is a language in the specific sense that we can identify idioms and draw up a list of meanings. The book's final section analyzes two symphonies, Mozart's Fortieth and Vaughan Williams's Sixth, to explore the nature of musical inspiration and the process whereby the notes actually convey emotion from composer to listener.
|Keywords||Music Philosophy and aesthetics|
|Categories||categorize this paper)|
|Buy the book||$6.00 used (90% off) $43.56 new (21% off) $46.20 direct from Amazon (16% off) Amazon page|
|Call number||ML3845.C68 1990|
|ISBN(s)||0193119056 0198161808 9780198161806|
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Citations of this work BETA
Patrik N. Juslin & Daniel Västfjäll (2008). Emotional Responses to Music: The Need to Consider Underlying Mechanisms. Behavioral and Brain Sciences 31 (5):559-575.
Guy Madison (2008). What About the Music? Music-Specific Functions Must Be Considered in Order to Explain Reactions to Music. Behavioral and Brain Sciences 31 (5):587-587.
Leon Crickmore (1966). Neo-Thomism as a Basis for the Teaching of Music. British Journal of Educational Studies 14 (3):36 - 44.
Andrew Edgar (2013). A Hermeneutics of Sport. Sport, Ethics and Philosophy 7 (1):140 - 167.
William W. Gaver & George Mandler (1987). Play It Again, Sam: On Liking Music. Cognition and Emotion 1 (3):259-282.
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