David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Philosophical Communications (2004)
The communication of emotion in music has with few exceptions, as L. B. Meyer´s Emotion and Meaning in Music (1956) and the contour theory (Kivy 1989, 2002), focused on music structure as representations of emotions. This implies a semiotic approach - the assumption that music is a kind of language that could be read and decoded. Such an approach is largely restricted to the conscious level of knowing, understanding and communication. We suggest an understanding of music and emotion based on action-perception theory - present moment perception, implicit knowledge and imitation. This theory does not demand consciousness or the use of signs. Neuroscientific findings (adaptive oscillators, mirror neurons) are in concordance with our suggestion. Recently these findings have generated articles on empathy – relevant to the understanding of music and emotion.
|Keywords||empathy implicit knowledge imitation entrainment mirror neurons perceptual learning|
|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
Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
Similar books and articles
Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.
Kathleen Marie Higgins (2012). The Music Between Us: Is Music a Universal Language? The University of Chicago Press.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Nick Zangwill (2007). Music, Metaphor, and Emotion. Journal of Aesthetics and Art Criticism 65 (4):391–400.
Nick Zangwill (2007). Music, Emotion and Metaphor. Journal of Aesthetics and Art Criticism 65 (4):391-400.
W. A. Mathieu (2010). Bridge of Waves: What Music is and How Listening to It Changes the World. Shambhala.
Leo Apostel, Herman Sabbe & Fernand J. Vandamme (eds.) (1986). Reason, Emotion, and Music: Towards a Common Structure for Arts, Sciences, and Philosophies, Based on a Conceptual Framework for the Description of Music. Communication & Cognition.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Nick Zangwill (2009). Appropriate Musical Metaphors. Nordic Journal of Aesthetics 20 (38).
Suzannah Clark & Alexander Rehding (eds.) (2005). Music Theory and Natural Order From the Renaissance to the Early Twentieth Century. Cambridge University Press.
Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
Nick Zangwill (2004). Against Emotion: Hanslick Was Right About Music. British Journal of Aesthetics 44 (1):29-43.
Iannis Xenakis (1971). Formalized Music. Bloomington,Indiana University Press.
Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) (2006). Music, Meaning and Media. University of Helsinki.
Added to index2010-07-23
Total downloads27 ( #112,402 of 1,725,168 )
Recent downloads (6 months)8 ( #81,183 of 1,725,168 )
How can I increase my downloads?