Music and Emotion: Theory and Research (Series in Affective Science)

Book Description

The position of emotion in music has been a subject of considerable interest and debate. However emotional aspects of music have received surprising little attention in the 45 years since the publication of Leonard Meyer's classic work 'Emotion and meaning in music.' During that time, both 'music psychology' and 'emotion' have developed as lively areas of research, and the time is fitting therefore to try and bring together this multidisciplinary interest and take stock of what we now know about this important relationship. A new volume in the Series in Affective Science, Music and Emotion; Theory and Research brings together leading researchers interested in both these topics to present the first integrative review of this subject. The first section reflects the various interdisciplinary perspectives, taking on board views from philosophy, psychology, musicology, biology, anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structures, the use of music to express emotions within the cinema. The third section looks at the emotions of the performer - how do they communicate emotion, how does their emotional state affect their own performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively. Music and Emotion is a timely book, one that will interest psychologists, musicologists, music educators, and philosophers.

Customer Reviews:

very integrative and all-encompassing.......2007-04-02

Pulling together famous researchers, etc Juslin and Sloboda do an amzing job of pulling together resources from various social sciences to help understand the interconnection between emotion and music. I haven't plowed through it fully yet but every day there's a new insight I learn or even a twist on how we understand the mind's analysis of music-even with all the background i have.
I surely suggest reading this if you want a real skin and bones understanding and not just fluffy narrative.
Happy Reading!

Emotion and Meaning in Music (Phoenix Books)

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excellent smooth reading
A true classic
A masterpiece in its own right
a truly innovative work
Very good

Emotion and Meaning in Music (Phoenix Books)
Leonard B. Meyer
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0226521397

Book Description

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory

"This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor

"It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist

"A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

Customer Reviews:

excellent smooth reading.......2007-04-02

I have yet to finish up with the book but it's a very clear thorough book. Meyer explains details that you thought couldn't be explained. I have intuited a lot of the material but it is so darn gratifying to see it written, to see I haven't made it up out of thin air!
Really a must read!!!

A true classic.......2007-01-20

What can I say? This book is essential reading for anybody who loves music. Period.

A masterpiece in its own right.......2005-11-16

How many music theory books written over 45 years ago are still taken seriously, never mind still in print?

It was my great pleasure to study with Leonard Meyer at the University of Pennsylvania from '86 through '89. Even though I am a composer and not really a theorist any more, I consider him one of my most influential teachers. His writings and lectures deeply affected me as a composer in that his understanding of music -- how it works, how it affects us, how our individual cognitive processes come to bear on what we are hearing -- found its way into my aesthetic. Even though Dr. Meyer in later years came to argue with himself (this was tremendous fun, by the way: sitting in his lectures, listening to him tell himself why his earlier writings were so wrong), this is great stuff, written by a great man.

Be forewarned that in spite of the title, this is musically technical stuff: don't expect vague, poetic philosophizing. The analyses are intense and detailed and require a strong background in music theory and form.

a truly innovative work.......2004-04-24

I see that the other reviewers here either hate this book or love it. I fall in the latter category. Having studied music theory extensively, this is the one book that actually deals with music as a communicating art, not as a bunch of symbols on paper. I think that any composer of music (pop, Classical, rock, etc.) could learn valuable pointers on how to write music that is interesting and moving to the listener. One of the problems with much 20th Century music is that it exists on paper as something interesting, but does not reach the ear as such. It appears that Leonard Meyer has been daring enough to admit that music can affect people's emotions and maintain their interest intellectually, rather than just existing as an exercise in note placement (alla Schenker or Forte).

Very good.......2004-01-31

I found this book quite enlightening, as well as pleasant to read. Like Professor Tolkien's hobbitts, I enjoy books that tell me things I already intuited but had no terms for.

Book Description

Should western beauty practices, ranging from lipstick to labiaplasty, be included within the United Nations understandings of harmful traditional/cultural practices? By examining the role of common beauty practices in damaging the health of women, creating sexual difference, and enforcing female deference, this book argues that they should.

In the 1970s feminists criticized pervasive beauty regimes such as dieting and depilation, but in the last two decades the brutality of western beauty practices has become much more severe. Today's practices can require the breaking of skin, spilling of blood and rearrangement or amputation of body parts. Some "new" feminists argue that beauty practices are no longer oppressive now that women can "choose" them. This book seeks to make sense of why beauty practices are not only just as persistent 30 years after the feminist critique developed, but in many ways more extreme. By examining the pervasive use of makeup, the misogyny of fashion and high-heeled shoes, and by looking at the role of pornography in the creation of increasingly popular beauty practices such as breast implants, genital waxing and surgical alteration of the labia, Beauty and Misogyny seeks to explain why harmful beauty practices persist in the west and have become so extreme. It looks at the cosmetic surgery and body piercing/cutting industries as being forms of self-mutilation by proxy, in which the surgeons and piercers serve as proxies to harm women's bodies. It concludes by considering how a culture of resistance to these practices can be created.

This essential work will appeal to students and teachers of feminist psychology, gender studies, cultural studies, and feminist sociology at both undergraduate and postgraduate levels, and to anyone with an interest in feminism, women and beauty, and women's health.

Customer Reviews:

A formidable challenge to neoliberal feminists.......2007-01-05

"Beauty and Misogyny" by Sheila Jeffreys is a powerful work by a prominent second wave feminist on the severe psychological and physical harm that our sexist society inflicts upon women. Ms. Jeffreys persuasively argues that western women express their relative status of powerlessness and subordination through beauty practices in an effort to conform to the expectations of their male oppressors. Through her astute scholarship and analysis, the author identifies ways in which we might begin to create an equalitarian world where women are freed of the burdens of male-imposed behaviors.

Ms. Jeffreys' thesis poses a formidable challenge to neoliberal feminists who have suggested that women exercise agency or 'choice' with respect to their appearance. By rooting her analysis in capitalism's tendency to divide economic activity into the public (masculine) and private (feminine) spheres, Ms. Jeffreys contends that beauty practices serve to reinforce the social hierarchy by heightening gender identification. As the neoliberal economic system has increasingly allowed the marketplace to function as the arbitrator of morality, these practices have become more extreme. In fact, the author submits that the United Nations' definition of harmful cultural practices (which in the past had been used to condemn the developing nations of the world) might now be more appropriately read for its description of how western democracies are currently mistreating women through an imposition of needlessly destructive beauty practices.

Interestingly, Ms. Jeffreys traces many widely-accepted beauty practices to their origins in prostitution, including the wearing of high heels, makeup and surgical enhancements. Ms. Jeffreys describes some of the negative health consequences that have ensued as a result of these and other practices that have been made popular by the mainstreaming of pornography, including tattooing and labiaplasty. Ms. Jeffreys discusses how the beauty/industrial complex adroitly uses the media to heighten women's feelings of insecurity for profit. The significant expenditures of time and money that women make in an effort to beautify themselves could be better spent on improving their real lives, the author suggests, and she encourages her readers to eschew such practices as a political acts of resistances. She also calls for better government regulation of the medical, adult entertainment and advertising industries to help limit the harm caused by destructive procedures and harmful messages, especially those that target the young.

Written with insight, passion and intelligence by an author of the highest integrity, I recommend this timely book to everyone interested in a strong feminist perspective on the topic of beauty and society. However, it is probably best for adults to provide readers under 18 years with guidance, given the mature themes of the book.

Half correct.......2006-12-29

This book makes a radical assertion, namely that most of the modern 'beauty' regime in western culture imprisons women, in a prison now of their own making ironically, no differently than the burka or the chador. The enslavement of women who dumb themselves down to be 'sexy' who destroy their helth and ruin their lives merely for the sake of showing off for men shows how disfigured and hypocritical the modern feminist movement is. The feminist movement has two sides, one that argued the pornography and obsessive dieting and all the other 'feminine' things were harmful and the other which embraced all forms of these things including women who are imprisoned in cells and forced into polygramy as 'liberation'.

The only slight problem here is the assertion that these practices are true only to western women, which is categorically false, women all over the world masicate themselves for men, whether it is wearing viels and never leaving the house, or happily working in brothels at the age of 12, or being circumsized, or dying their hair blond in India, the entire world is made up of 'beauty' regimes that mean most women whether in the the 'liberated' west or elsewhere enslave themselves to whatever chance 'style' is supposedly 'in' this year. It is not a 'western' phenomenon.

Seth J. Frantzman

Breast Implants are to "Liberating" what Chinese Foot Binding was to Walking.......2006-07-26

This book represents what I have been trying to explain about beauty practices for the last ten years but could NEVER articulate as well as Jeffrys. She is passionate, informative, well researched and practical. One of the most important points of this book is that women's choices are made in the context of a patriarchal culture..where men still rule over women in a variety of contexts. Is it a coincidence that the field of plastic surgery is dominated by men? See the pictures of Nip Tuck on Google if you want some entertaining reinforcement. It's also as Catharine MacKinnon once explained ...we live in a culture that drastically limits women's choices and then when they make the one choice that the culture consistently and monetarily rewardingly provides for her, and this choice degrades her in a variety of ways, you call that liberating and free? Beauty and Misogyny is a MUST READ!!!!!!!!!!!!!! Visit www.FFiles.net to hear an hour long radio show with Sheila Jeffries free!

Body and Emotion: The Aesthetics of Illness and Healing in the Nepal Himalayas (Contemporary Ethnography)

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Body and Emotion: The Aesthetics of Illness and Healing in the Nepal Himalayas (Contemporary Ethnography)
Robert R. Desjarlais
Manufacturer: University of Pennsylvania Press
ProductGroup: Book
Binding: Paperback

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ASIN: 081221434X

Book Description

Body and Emotion is a study of the relationship between culture and emotional distress, an examination of the cultural forces that influence, make sense of, and heal severe pain and malaise. In order to investigate this relationship, Robert R. Desjarlais served as an apprentice healer among the Yolmo Sherpa, a Tibetan Buddhist people who reside in the Helambu region of north-central Nepal.

On the Name (Meridian: Crossing Aesthetics)

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aPOPHATICALLY, by way of naming...

On the Name (Meridian: Crossing Aesthetics)
Jacques Derrida
Manufacturer: Stanford University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0804725551

Book Description

“The name: What does one call thus? What does one understand under the name of name? And what occurs when one gies a name? What does one give then? One does not offer a thing, one delivers nothing, and still something comes to be, which comes down to giving that which one does not have, as Plotinus said of the Good. What happens, above all, when it is necessary to sur-name, renaming there where, precisely, the name comes to be found lacking? What makes the proper name into a sort of sur-name, pseudonym, or cryptonym at once singular and singularly untranslatable?”

Jacques Derrida thus poses a central problem in contemporary language, ethics, and politics, which he addresses in a liked series of the three essays. Passions: “An Oblique Offering” is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding—which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised inevitably by a rigorous negative theology. Much of the text is organized around close readings of the poetry of Angelus Silesius.

The final essay, Khora, explores the problem of space or spacing, of the word khora in Plato’s Tmaeus. Even as it places and makes possible nothing less than the whole world, khora opens and dislocates, displaces, all the categories that govern the production of that world, from naming to gender. In addition to readers in philosophy and literature, Khora will be of special interest to those in the burgeoning field of “space studies”(architecture, urbanism, design).

Customer Reviews:

aPOPHATICALLY, by way of naming..........2001-11-16

A book like this...a review thereof for whom?
A certain amount of "familiarity" with Jackie's style of writing will probably be necessary to get into these three short essays around (and whatever other prepositions you care to put in) the theme of the name, naming, saving the name, keeping the name safe, and the name's refusal to be called by a name.
The first of the essays is titled "Passions" and is the most fragmented of the three in terms of delivery. A bit taxing, really. By way of introduction, Jack commits an abduction by way of "apophasis" -- a kind of an irony, whereby we deny that we say or do that which we especially say or do (OED) -- to bring about the idea of the passions of secrets: Secrets not by being hidden nor by being shared by a privileged few, but the kind that is open to all, perhaps taking on the form of a non-secret.

The second essay has a little more to sink one's teeth into. The subject is "negative theology" as such, or the (im)possibility thereof. A very penetrating reading of Angelus Silesius' The Cherubinic Wanderer.

The third essay, "Khora" -- non-placeable place, the third genus -- is a reading of Plato's notion of that "mother", "nurse", "the Receiver" that gives place for all that "takes place": A placing, a positing of displacement and differance, a displacement by way of oscillation between two types of oscillation: the double exclusion(neither/nor) and the participation(both this and that).

In short, this collection of essays opens up another (that is to say, the very same) horizon of thinking toward what used to be under the care of religion, and as such can be rewarding reading to those who are already aware of the necessity of reworking the language of absence without resorting to what was once named "mysticism". If Nagarjuna were born into the French language in the 20th century, he'd probably speak like this.

Book Description

The Corded Shell: Reflections on Musical Expression, published in 1980 and now out of print, was concerned with the question of how music comes to have the emotional properties that have been perceived in it and ascribed to it since antiquity. In that book, Peter Kivy argued that music possesses expressive properties, not as powers to arouse emotions in us but, rather, as perceived qualities of the music itself. In Sound Sentiment, he augments his previous work with four entirely new chapters. Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses and answers various criticisms.

Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind

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Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind
Bijoy H. Boruah
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover

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ASIN: 0195620933

Book Description

Why do people respond emotionally to fiction when they know that it is only make-believe? This question which is fundamental to aesthetics and literary studies, is here tackled from a new perspective. The author first discusses the various answers that have been offered by philosophers form Aristotle to Roger Scruton. He shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In contrast, Dr Boruah argues that fictional emotions are rational, and that they are based on the same sorts of beliefs that we form about real situations and real people. He illustrates his discussion throughout by an extensive use of literary examples, ranging from Shakespeare to Tolstoy.

Deeper than Reason: Emotion and its Role in Literature, Music, and Art

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Deeper than Reason: Emotion and its Role in Literature, Music, and Art
Jenefer Robinson
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

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ASIN: 0199204268

Book Description

Deeper than Reason takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone who is interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation. Part One develops a theory of emotions as processes, having at their core non-cognitive 'instinctive' appraisals, 'deeper than reason', which automatically induce physiological changes and action tendencies, and which then give way to cognitive monitoring of the situation. Part Two examines the role of the emotions in understanding literature, especially the great realistic novels of the nineteenth century. Robinson argues that such works need to be experienced emotionally if they are to be properly understood. A detailed reading of Edith Wharton's novel The Reef demonstrates how a great novel can educate us emotionally by first evoking instinctive emotional responses and then getting us to cognitively monitor and reflect upon them. Part Three puts forward a new Romantic theory of emotional expression in the arts. Part Four deals with music, both the emotional expression of emotion in music, whether vocal or instrumental, and the arousal of emotion by music. The way music arouses emotion lends indirect support to the theory of emotion outlined in Part One. While grounded in the science of emotion, Deeper than Reason demonstrates the continuing importance of the arts and humanities to our lives.

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A splendid reflection on poetry
Excellent, Challenging, and Accessible
Startling ideas, gorgeously written
Worth the Work

Feeling as a Foreign Language
Alice Fulton
Manufacturer: Graywolf Press
ProductGroup: Book
Binding: Paperback
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ASIN: 1555972861

Amazon.com

"The better part of fairness is the willingness to move toward what is given rather than impose one's own aesthetic on a book. This approach--a sympathetic leaning toward the work coupled with patient rereading--is the one I've tried to realize." In this collection, poet Alice Fulton looks at her craft from a critic's perspective, exploring the "good strange or eccentric" world of postmodern poetry. In order to do this, Fulton has divided her book into five parts; the first, "Process," explores the multitudes of filters that stand between the writer/reader and the work--everything from the computer screen to that judgmental internal editor "invested with the power of entry and exclusion." "Poetics" investigates the forms postmodern poetry takes, supporting the "free and fractal" with an in-depth examination of prosody, linguistics, and even the relationships between quantum physics and poetry. In "Powers" Fulton takes a look at two misunderstood poets: the 18th-century Margaret Cavendish, Duchess of Newcastle, and the 19th-century Emily Dickinson--both considered "eccentric" in their own times. "Praxis" is a meditation on the author's own work, and she follows it up with the final section, "Penchants," which contains three essay-reviews on a number of modern poets. Anyone interested in the state of postmodern poetry will find much food for thought in Alice Fulton's Feeling As a Foreign Language. --Margaret Prior

Book Description

In Feeling as a Foreign Language, award-winning poet and critic Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. How does poetry create feeling? What are fractal poetics?

In a series of provocative, beautifully written essays concerning "the good strangeness of poetry," Fulton contemplates the intricacies of a rare genetic syndrome, the aesthetics of complexity theory, and the need for "cultural incorrectness." She also meditates on electronic, biological, and linguistic screens; falls in love with an outrageous 17th-century poet; argues for a Dickinsonian tradition in American letters; and calls for a courageous poetics of "inconvenient knowledge."

Contents

Preamble

I. Process
Head Notes, Heart Notes, Base Notes

Screens: An Alchemical Scrapbook

II. Poetics
Subversive Pleasures

Of Formal, Free, and Fractal Verse: Singing the Body Eclectic

Fractal Amplifications: Writing in Three Dimensions

III. Powers
The Only Kangaroo among the Beauty

Unordinary Passions: Margaret Cavendish, the Duchess of Newcastle

Her Moment of Brocade: The Reconstruction of Emily Dickinson

IV. Praxis
Seed Ink

To Organize a Waterfall

V. Penchants
A Canon for Infidels

Three Poets in Pursuit of America

The State of the Art

Main Things

ri0
VI. Premises
The Tongue as a Muscle

A Poetry of Inconvenient Knowledge

Customer Reviews:

A splendid reflection on poetry.......2002-02-10

Alice Fulton here offers beautifully crafted essays on poets and poetry, emphasizing the power of estrangement that gives lyric much of its interest. Emily Dickinson plays an important role in this book, but above all the reader will find elegant and telling formulations about poetry's exploration of possibilities of feeling.

Excellent, Challenging, and Accessible.......1999-09-21

Let's keep it simple: this is a challenging but accessible and rewarding book. It's not surprising that some professional reviewers have carped; the book takes them (often deservedly) to task for preaching "karaoke poetics," parroting with increasing volume and decreasing originality things that were said -- and tired -- a decade ago. Fulton's chapters on her own poetry and on Dickinson are outstanding, but the whole rewards even a casual reading. Though it's prose in format, the book is still a poem -- a fractal poem -- in the way it plays with its subject matter, diverges on flights of fancy and whimsy, reveals the poet as a person rather than a cold auctorial voice, etc.

Startling ideas, gorgeously written.......1999-05-02

Not since I read Wallace Steven's 'The Necessary Angel' 25 years ago have I felt such a wide-ranging intelligence in a book of essays on poetry. Fulton uses theories of science in absolutely startling ways. Readers with any interest in rich metaphors will find much here that is positively exciting and new. Her two essays on what she's calling "fractal verse" are solid, thoughtful, and full of possibilities for where poetry can take us. So far as I know, no poet has ever before described the "poem plane" and how poets are at the threshold of "breaking" through it. To me, this is as significant as Pound's idea of "breaking" the pentameter was when it was first proposed. This book is the work of a true visionary.

Worth the Work.......1999-04-13

I've got to admit that I'm beginning to lose my patience with a lot of Alice Fulton's critics, many of whom seem to toss disparaging words her way with the flippant anxiousness of young children encountering and smothering something new and intimidating. "How do you know that you don't like broccoli if you won't *try* it," and how will these writers ever lend a thoughtful critical perspective if they can't stop harping on Fulton for refusing to tow a more conventional, accessible critical stance? Their generic vision ought not be Fulton's problem. It's not my mission here, however, to get into a long dialogue about the critics (Amazon wouldn't post it anyway), but to instead come to the aid of an engaging, challenging, and vital new book of essays. Fulton's volume circumscribes a theory (let's make it more approachable)--a notion--of poetics that stands to breathe new life into a discipline that is fast becoming a solipsistic basketweaving in and around the zillion MFA programs of our nation's universities. Her implicit enthusiasm for sharp words (she bitingly assigns an anonymous, well-known poet the name Halcyon Angeltongue) and for poetry's good *potential* in these pieces is so forward-thinking and refreshing that I found myself, ruffling through the pages, suddenly grandly optimistic for poetry's contemporary cause. In these pieces: Fulton lights on the "screens," both figurative and literal, that fall between reader and object, individual and elements. She comes to the generous aesthetic aid of famous and unfamous poets alike, reorganizing conventional approaches to poetic criticism with precision and concerted care. And Fulton envisions an exciting, strenuous new school of "fractal poetry" (challenging and quite seaworthy), which "looks to chaos and complexity theory as touchstones for contemporary aesthetics. These pieces suggest that as free verse broke the pentameter, fractal verse can break the poem plane or linguistic surface." This writing is gleamingly new and often makes for difficult maneuvering, but it's always a dance worth learning, worth the work.

Music and the Emotions: The Philosophical Theories (International Library of Philosophy)

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Music and the Emotions: The Philosophical Theories (International Library of Philosophy)
Malcolm Budd
Manufacturer: Routledge
ProductGroup: Book
Binding: Paperback

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ASIN: 0415087791

Book Description

The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the emotions. Many theories of the nature and significance of music as an art form have maintained that at least one important value of music is its capacity to represent, express, communicate, or symbolize a variety of extra-musical emotions or a certain aspect of emotion. Yet these theories are rejected by those who believe that the value of any musical work is specifically musical, and accordingly must be independent of any relationship between music and the emotions.

Now in paper, Music and the Emotions presents and critically examines the chief theories about the relationship between music and the emotions. These theories include those of Eduard Hanslick, Edmund Gurney, Carroll Pratt, Arthur Schopenhauer, Susanne Langer and Leonard Meyer.

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