David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Educational Philosophy and Theory 37 (1):93–103 (2005)
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
|Keywords||emotion musicianship expression music musical works praxial performance|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Saam Trivedi (2008). Music and Metaphysics. Metaphilosophy 39 (1):124–143.
Andrew Kania (2008). The Methodology of Musical Ontology: Descriptivism and its Implications. British Journal of Aesthetics 48 (4):426-444.
Stephen Davies (2007). Musical Ontology. Sounds, Instruments and Works of Music / Julian Dodd ; Doing Justice to Musical Works / Michael Morris ; Versions of Musical Works and Literary Translations. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
Roger Scruton (2004). Wittgenstein and the Understanding of Music. British Journal of Aesthetics 44 (1):1-9.
Stephen Davies (2006). Performance Interpretations of Musical Works. Nordic Journal of Aesthetics 18 (33-34).
Andrew Kania (2008). Piece for the End of Time: In Defence of Musical Ontology. British Journal of Aesthetics 48 (1):65-79.
Ben Caplan & Carl Matheson (2006). Defending Musical Perdurantism. British Journal of Aesthetics 46 (1):59-69.
Added to index2009-01-28
Total downloads26 ( #95,004 of 1,696,494 )
Recent downloads (6 months)2 ( #246,076 of 1,696,494 )
How can I increase my downloads?