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  1. added 2019-02-22
    On Evolutionary Explanations of Musical Expressiveness.Matteo Ravasio - 2018 - Evental Aesthetics 7 (1):6-29.
    In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list (...)
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  2. added 2017-11-08
    Beating the Air. Phenomenological Remarks on the Semiotics of Conducting.Carl Erik Kühl - 2003 - Acta Semiotica Fennica 15:183-196.
  3. added 2017-05-09
    The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):426-436.
    What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct (...)
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  4. added 2016-12-30
    Music.Kania Andrew - 2013 - In Berys Gaut & Dominic McIver Lopes (eds.), Routledge Companion to Aesthetics. New York, USA: Routledge. pp. 639-648.
    An overview of analytic philosophy of music.
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  5. added 2016-11-07
    The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control.Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.) - 2013 - Oxford University Press.
    How can an abstract sequence of sounds so intensely express emotional states? In the past ten years, research into the topic of music and emotion has flourished. This book explores the relationship between music and emotion, bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers .
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  6. added 2016-11-04
    Matravers on Musical Expressiveness.Justine Kingsbury - 2002 - British Journal of Aesthetics 42 (1):13-19.
    , Derek Matravers defends a new version of the arousal theory of musical expressiveness. In this paper it is argued that for various reasons, including especially what the theory implies about the inappropriateness of certain kinds of response to music, we should reject Matravers's theory in favour of some form of cognitivism.
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  7. added 2016-09-17
    Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...)
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  8. added 2016-04-15
    Interpretation.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
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  9. added 2016-03-04
    The Music Between Us: Is Music a Universal Language? By Kathleen Marie Higgins. [REVIEW]Tom Cochrane - 2015 - Mind 124 (496):1288-1292.
  10. added 2015-12-10
    Style and the Processes of Art.Kendall Walton - 1979/2008 - In Wa & Kendall tpm (eds.), The Concept of Style. Oxford University Press. pp. 220--248.
  11. added 2015-05-07
    Historical Formalism in Music: Toward a Philosophical Theory of Musical Form.Andrea Baldini - 2014 - Contemporary Aesthetics 12:N/A.
    In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.
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  12. added 2014-12-22
    Aesthetics of Conducting: Expression and Gesture.Andreas Dorschel - 2013 - In Jean Paul Olive & Susanne Kogler (eds.), Expression et geste musical. L'Harmattan. pp. 65-73.
    Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...)
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  13. added 2014-12-22
    Einführung zu den Schriften [Richard Wagners].Andreas Dorschel - 2012 - In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter. pp. 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical content (...)
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  14. added 2014-12-22
    Music and Pain.Andreas Dorschel - 2011 - In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. pp. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  15. added 2014-12-22
    Musik und Schmerz.Andreas Dorschel - 2008 - Musiktheorie 23 (3):257-263.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  16. added 2014-12-22
    Utopie und Resignation. Schuberts Deutungen des Sehnsuchtsliedes aus Goethes ‘Wilhelm Meister’ von 1826.Andreas Dorschel - 1997 - Oxford German Studies 26:132-164.
    In the lied, music interprets poetry. Interpretation is not arbitrary. At the same time, there is no such thing as a single correct interpretation of something else – at any rate not of something as complex as a poem by Goethe. Mignon’s song of longing “Nur wer die Sehnsucht kennt, / weiß, was ich leide” can be taken to manifest subjectivity utterly barren within itself. Yet the ability to express that state of mind transcends it; it implies imagination of something (...)
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  17. added 2014-12-17
    Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, 2nd. Ed.Andreas Dorschel, Gerhard Eckel & Deniz Peters (eds.) - 2013 - Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
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  18. added 2014-12-17
    Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity.Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.) - 2012 - Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
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  19. added 2014-12-17
    Friedrich von Hausegger, Die Musik als Ausdruck.Andreas Dorschel & Elisabeth Kappel (eds.) - 2010 - Universal Edition.
    In 1885, the Austrian music critic and scholar Friedrich von Hausegger published his book “Die Musik als Ausdruck” (“Music as Expression”) which may be understood as an answer to Eduard Hanslick’s “Vom Musikalisch-Schönen” (“On the Musically Beautiful”, 1854). Unlike Hanslick, Hausegger takes the body as central to any adequate account of music. Hence Charles Darwin’s theory of evolution, in particular his book “The Expression of Emotions in Man and Animals” (1872), becomes a central reference for Hausegger. His treatise is a (...)
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  20. added 2014-12-17
    Über Ausdruck, insbesondere den musikalischen.Andreas Dorschel - 2010 - In Andreas Dorschel & Elisabeth Kappel (eds.), Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition. pp. 152-177.
    To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...)
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  21. added 2014-09-21
    Using Situationist Theory to Identify the Fantasy Trap of Dead Art (an Outdated Mode for an Outdated Age), How to Avoid It, and the Merger of Life and Art.Nathaniel Peterkin - 2014 - Dissertation, Norwich University of the Arts
    In this essay, I have researched the artistic and political philosophy of the Situationist International – a revolutionary movement that has made a great impact on contemporary culture. Using the foundation of this research, I have then built on it with my own hypotheses and speculations on the meaning of art as we know it – questioning what defines true creativity and “authentic experience”. I then draw conclusions as to the successes and failures of the Situationist International, what we can (...)
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  22. added 2014-04-02
    Resemblance, Convention, and Musical Expressiveness.James O. Young - 2012 - The Monist 95 (4):587-605.
    Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...)
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  23. added 2014-04-02
    Shostakovich's Tenth Symphony and the Musical Expression of Cognitively Complex Emotions.Gregory Karl & Jenefer Robinson - 1995 - Journal of Aesthetics and Art Criticism 53 (4):401-415.
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  24. added 2014-04-02
    Stephen Davies: Musical Meaning and Expression.Peter Kivy - 1995 - Mind 104 (416):896-900.
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  25. added 2014-03-30
    Music Quickens Time.Daniel Barenboim - 2009 - Verso.
    In this eloquent book, Daniel Barenboim draws on his profound and uniquely influential engagement with music to argue for its central importance in our everyday lives.
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  26. added 2014-03-30
    Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture.Harris M. Berger - 2009 - Wesleyan University Press.
    Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.
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  27. added 2014-03-29
    Musical Expression. Expression in Music / Derek Matravers ; Explaining Musical Experience / Paul Boghossian ; Persona Sometimes Grata : On the Appreciation of Expressive Music.Aaron Ridley - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
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  28. added 2014-03-20
    Expressive Meaning in Music: Generality Versus Particularity.Krzysztof Guczalski - 2005 - British Journal of Aesthetics 45 (4):342-367.
    The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley's book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the (...)
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  29. added 2014-03-17
    Music and the Aesthetics of Modernity: Essays.Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) - 2005 - Harvard University Press.
  30. added 2014-03-16
    Everything is Connected: The Power of Music.Daniel Barenboim - 2008 - Weidenfeld & Nicolson.
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  31. added 2014-03-12
    Expression and Extended Cognition.Tom Cochrane - 2008 - Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
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  32. added 2014-03-10
    Hearing and Seeing Musical Expression.Vincent Bergeron & Dominic Mciver Lopes - 2009 - Philosophy and Phenomenological Research 78 (1):1-16.
    Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...)
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  33. added 2014-03-09
    The Future of Tonality.A. E. Denham - 2009 - British Journal of Aesthetics 49 (4):427-450.
    Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...)
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  34. added 2014-03-09
    Peacocke on Musical Experience and Hearing Metaphorically-As.Paul F. Snowdon - 2009 - British Journal of Aesthetics 49 (3):277-281.
    Christopher Peacocke's paper presents a characteristically rich and original theory of the so-called expressive qualities of music. It is, surely, impossible to come to a verdict on such an interesting theory quickly, and it will, no doubt, attract continuing and merited attention. The purpose of my preliminary reflections is to raise some questions about the proposal and to express some reservations, but I see these remarks as simply opening and inconclusive ones in a longer dialogue. I am going to divide (...)
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  35. added 2014-03-07
    Musical Musical Nuance.Tiger C. Roholt - 2010 - Journal of Aesthetics and Art Criticism 68 (1):1-10.
  36. added 2014-03-07
    Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
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  37. added 2014-03-07
    Expressive Perception as Projective Imagining.Paul Noordhof - 2008 - Mind and Language 23 (3):329–358.
    I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...)
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  38. added 2013-05-14
    Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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  39. added 2013-05-08
    Wittgenstein on Musical Experience and Knowledge.Eran Guter - 2004 - In J. C. Marek & E. M. Reicher (eds.), Experience and Analysis: Papers of the 27th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society.
    Wittgenstein’s thinking on music is intimately linked to core issues in his work on the philosophy of psychology. I argue that inasmuch musical experience exemplifies the kind of grammatical complexity that is indigenous to aspect perception and, in general, to concepts that are based on physiognomy, it is rendered by Wittgenstein as a form of knowledge, namely, knowledge of mankind.
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  40. added 2013-04-15
    Propaganda Power of Protest Songs.Sheryl Tuttle Ross - 2013 - Contemporary Aesthetics 11.
    Abstract The aim of this paper is to examine the propaganda power of Madison’s Solidarity Sing-Along. To do so, I will modify the Epistemic Merit Model of propaganda so that it can account for a broader spectrum of propaganda. I will show how this is consistent with other accounts of musical pragmatics and the potential political function of songs and music. This will provide the ground for a robust interpretation of the political meanings of the Solidarity Sing-Along. I will assume (...)
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  41. added 2013-01-22
    Review of Naomi Cumming, "The Sonic Self: Musical Subjectivity and Signification". [REVIEW]Catherine Legg - 2002 - Recherches Semiotiques / Semiotic Inquiry 22 (1-2-3):315-327.
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  42. added 2013-01-22
    Music as Speech: An Ethnomusicolinguistic Study of India.Anoop Chandola - 1988 - Navrang.
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  43. added 2011-05-16
    Expression as Success. The Psychological Reality of Musical Performance.Rob van Gerwen - 2008 - Estetika 45 (1):24-40.
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...)
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  44. added 2011-05-16
    Of Mozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind.Bruce Adolphe - 1999 - Limelight Editions.
    The exhilarating mix of humor, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over most of the ...
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  45. added 2011-04-14
    Music Alone: Philosophical Reflections on the Purely Musical Experience.Peter Kivy - 1990 - Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  46. added 2010-05-14
    The Problem of Musical Expression.Erich Sorantin - 1932 - Nashville, Tenn., Marshall & Bruce Co..
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  47. added 2009-11-12
    Expressiveness and Expression in Music and Poetry.Robert Stecker - 2001 - Journal of Aesthetics and Art Criticism 59 (1):85-96.
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  48. added 2009-11-12
    Expressiveness as a Property of the Music Itself.Saam Trivedi - 2001 - Journal of Aesthetics and Art Criticism 59 (4):411–420.
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  49. added 2009-10-29
    A Simulation Theory of Musical Expressivity.Tom Cochrane - 2010 - Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
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  50. added 2008-12-31
    A Cohenian Approach to Musical Expression.Justin London - 2002 - Journal of Aesthetics and Art Criticism 60 (2):182-185.
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