Why does music move us?

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
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Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.

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Similar books and articles
Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago 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.
Nick Zangwill (2009). Appropriate Musical Metaphors. Nordic Journal of Aesthetics 20 (38).
Iannis Xenakis (1971). Formalized Music. Bloomington,Indiana University Press.

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