![]() Structural features are divided into two parts, segmental features and suprasegmental features. Structural features = Segmental features × Suprasegmental features Performance features = Performer skill × Performer state Listener features = Musical expertise × Stable disposition × Current motivation Contextual features = Location × Event Extra-musical features = Non-auditory features × Expertise Structural features It has been argued that the emotion experienced from a piece of music is a multiplicative function of structural features, performance features, listener features, contextual features and extra-musical features of the piece, shown as:Įxperienced Emotion = Structural features × Performance features × Listener features × Contextual features × Extra-Musical features Emotivists argue that music elicits real emotional responses in the listener. The cognitivists' approach argues that music simply displays an emotion, but does not allow for the personal experience of emotion in the listener. There are two schools of thought on how we interpret emotion in music. ![]() Empirical research has looked at which emotions can be conveyed as well as what structural factors in music help contribute to the perceived emotional expression. The capacity to perceive emotion in music is also subject to cultural influences, and both similarities and differences in emotion perception have been observed in cross-cultural studies. The ability to perceive emotion in music is said to develop early in childhood, and improve significantly throughout development. These simultaneous musical processes can reinforce or conflict with each other and thus also express the way one emotion "morphs into another over time". ![]() Robinson argues that music is a series of simultaneous processes, and that it therefore is an ideal medium for mirroring such more cognitive aspects of emotion as musical themes' desiring resolution or leitmotif's mirrors memory processes. Robinson argues that emotions may transform into one another, causing blends, conflicts, and ambiguities that make impede describing with one word the emotional state that one experiences at any given moment instead, inner feelings are better thought of as the products of multiple emotional streams. This series of events continually exchanges with new, incoming information. Robinson argues that the process of emotional elicitation begins with an "automatic, immediate response that initiates motor and autonomic activity and prepares us for possible action" causing a process of cognition that may enable listeners to name the felt emotion. The philosopher Jennifer Robinson assumes the existence of a mutual dependence between cognition and elicitation in her description of "emotions as process, music as process" theory, or process theory. Skilled listeners very similarly attribute emotional expressiveness to a certain piece of music, thereby indicating according to Davies that the expressiveness of music is somewhat objective because if the music lacked expressiveness, then no expression could be projected into it as a reaction to the music. it is realized in the listener's judgement. Music's expressiveness is certainly response-dependent, i.e. Davies says that expressiveness is an objective property of music and not subjective in the sense of being projected into the music by the listener. Which musical features are more commonly associated with which emotions is part of music psychology. Appearance emotionalism claims many listeners' perceiving associations constitutes the expressiveness of music. Īssociations between musical features and emotion differ among individuals. is between music's temporally unfolding dynamic structure and configurations of human behaviour associated with the expression of emotion." The observer can note emotions from the listener's posture, gait, gestures, attitude, and comportment. He says, "The resemblance that counts most for music's expressiveness. Objects can convey emotion because their structures can contain certain characteristics that resemble emotional expression. Davies calls his view of the expressiveness of emotions in music "appearance emotionalism", which holds that music expresses emotion without feeling it. Two of the most influential philosophers in the aesthetics of music are Stephen Davies and Jerrold Levinson. ![]() Philosophical approaches Appearance emotionalism ![]()
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