Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination.
Author: Arthur P. Shimamura
Publisher: OUP USA
Release Date: 2012-01-02
What does it mean to have an "aesthetic" experience? In this book, philosophers, psychologists, and neuroscientists address the nature of aesthetic experiences from their own discipline's perspective. These scholars discuss whether a multidisciplinary approach, an aesthetic science, can help connect mind, brain, and aesthetics.
Author: Tobias Klauk
Publisher: Walter de Gruyter
Release Date: 2014-04-01
Genre: Literary Criticism
Der Band führt in 22 Artikeln in Grundprobleme der Fiktionalität ein. Behandelt werden mit pragmatischen, rezeptions- und kontextbezogenen Theorien die wichtigsten Ansätze zur Abgrenzung fiktionaler und nicht-fiktionaler Medien. Kernfragen der Philosophie und Rezeptionspsychologie sowie Funktionen der Fiktionalität werden ebenso erläutert wie die Geschichte der Fiktionalitätsinstitution seit der Antike. Neben fiktionaler Literatur wird auch die Fiktionalität weiterer Medien (u.a. Film und bildende Kunst) sowie die Rolle von Fiktionalität und Fiktionalitätstheorie in Film- und Medienwissenschaften, Kunst- und Bildwissenschaften, Philosophie und Geschichtswissenschaft behandelt.
Author: Mr. Bruce Adolphe
Publisher: Oxford University Press
Release Date: 2013-09-05
The Mind's Ear offers a unique approach to stimulating the musical imagination and inspiring creativity, as well as providing detailed exercises aimed at improving the ability to read and imagine music in silence, in the "mind's ear." Modeling his exercises on those used in theater games and acting classes, and drawing upon years of experience with improvisation and composition, Bruce Adolphe has written a compelling, valuable, and practical guide to musical creativity that can benefit music students at all levels and help music teachers be more effective and inspiring. The book also provides provocative ideas and useful tools for professional performers and composers, as well as offering games and exercises to serious listeners that can increase their musical understanding and level of engagement with music in a variety of ways.
Author: Carl R. Plantinga
Release Date: 1999
Genre: Performing Arts
The movie theater has always been a place where people come together to share powerful emotional experiences, from the fear generated by horror films and the anxiety induced by thrillers to the laughter elicited by screwball comedies and the tears precipitated by melodramas. Indeed, the dependability of movies to provide such experiences lies at the center of the medium's appeal and power. Yet cinema's ability to influence, even manipulate, the emotions of the spectator is one of the least-explored topics in film theory today. In "Passionate Views," thirteen internationally recognized scholars of film studies, philosophy, and psychology explore the emotional appeal of the cinema. Employing a novel cognitive perspective, the volume investigates the relationship between genre and emotion; explores how film narrative, music, and cinematic techniques such as the close-up are used to elicit emotion; and examines the spectator's identification with and response to film characters. An impressive range of films and topics is brought together by Carl Plantinga and Greg M. Smith, including: the success of "Stella Dallas" and "An Affair to Remember" as tearjerkers; the power of "Night of the Living Dead" to inspire fear and disgust; the sublime evoked in "The Passion of Joan of Arc," "Aguirre, the Wrath of God," and "The Children of Paradise;" the emotional basis of film comedy as seen in "When Harry Met Sally;" the use of cinematic cues in "Raiders of the Lost Ark" and "Local Hero" to arouse emotions; the relationship between narrative flow and emotion in "Once Upon a Time in the West" and "E.T.;" the emotive use of music in "The Elephant Man" and "A Clockwork Orange;" "Stranger than Paradise"'s sense of timing; desire and resolution in "Casablanca"; audience identification with the main characters in "Groundhog Day" and "The Crying Game;" portrayal of perversity in "The Silence of the Lambs," "Flaming Creatures," and "Shivers;" and empathy elicited through closeups of actors' faces in "Yankee Doodle Dandy" and "Blade Runner." "Passionate Views" offers a new approach to our understanding of film and will be of interest to anyone fascinated by the emotional power of motion pictures and their relationship to the central concerns of our lives, as well as by the techniques filmmakers use to move an audience.
How can an abstract sequence of sounds so intensely express emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes? In the past ten years, research into the topic of music and emotion has flourished. In addition, the relationship between the two has become of interest to a broad range of disciplines in both the sciences and humanities. The Emotional Power of Music is a multidisciplinary volume exploring the relationship between music and emotion. Bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers, the volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers. In the first section of the book, the authors consider the expression of emotion within music, through both performance and composing. The second section explores how music can stimulate the emotions, considering the psychological and neurological mechanisms that underlie music listening. The third section explores how different societes have sought to manage and manipulate the power of music. The book is valuable for those in the fields of music psychology and music education, as well as philosophy and musicology
Author: Estelle Ruth Jorgensen
Publisher: Univ of Illinois Pr
Release Date: 1991
In Philosopher, Teacher, Musician, fifteen influential thinkers in aesthetics and arts education explore the intersection of the philosophy of music and music education. Several themes link the contributions, originally presented as the fall 1991 issue of the journal of Aesthetic Education. The first theme concerns epistemological issues related to the nature of the symbolic understandings and the distinct semantic and syntactic "language" of music. Second is the role of music in education and of education in music. A third theme centers on philosophical perspectives on music curricula and instruction. Last, contributors consider the nature and place of philosophy in music education and its contribution to research and practice. Taken as a whole, the essays point to a rich future in the philosophy of music and music education and provide a much-needed addition to the scholarly literature in this area.
Wie viel Gefühl verträgt eine Gesellschaft, die nach Gerechtigkeit strebt? Nicht viel, könnte man meinen und auf die Gefahren politischer Instrumentalisierung von Ängsten und Ressentiments verweisen. Emotionen, so eine verbreitete Ansicht, setzen das Denken außer Kraft und sollten deshalb keine Rolle spielen. Martha C. Nussbaum hingegen behauptet: um der Gerechtigkeit politisch zur Geltung zu verhelfen, bedarf es nicht nur eines klaren Verstandes, sondern auch einer positiv-emotionalen Bindung der Bürgerinnen und Bürger an die gemeinsame Sache. Manche sprechen von Hingabe, Nussbaum nennt es Liebe. Sie zeigt, welche Ausdrucksformen diese und verwandte politische Emotionen annehmen können und wie sie sich kultivieren lassen.
Author: Dr Maria Semi
Publisher: Ashgate Publishing, Ltd.
Release Date: 2013-01-28
Music as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. From the field of natural philosophy, involving the science of sounds and acoustics, to the realm of imagination, involving resounding music and art, the branches of modern culture that were involved in the intellectual tradition of the science of music proved to be variously appealing to men of letters. Among these, a particularly rich field of investigation was the British philosophy of the mind and of human understanding, developed between the seventeenth and eighteenth centuries, which looked at music and found in its realm a way of understanding human experience. Focussing on the world of sensation – trying to describe how the human mind could develop ideas and emotions by its means – philosophers and physicians often took their cases from art's products, be it music (sounds), painting (colours) or poetry (words as signs of sound conveying a meaning), thus looking at art from a particular point of view: that of the perceiving mind. The relationship between music and the philosophies of mind is presented here as a significant part of the construction of a Science of Man: a huge and impressive 'project' involving both the study of man's nature, to which – in David Hume's words – 'all sciences have a relation', and the creation of an ideal of what Man should be. Maria Semi sheds light on how these reflections moved towards a Science of Music: a complex and articulated vision of the discipline that was later to be known as 'musicology'; or Musikwissenschaft.