The complex relationship between music and emotions.
The interplay between code expressiveness and listener experience beyond the dichotomies of analytic aesthetics.
DOI:
https://doi.org/10.54103/2465-0137/23907Abstract
The aim of this article is to demonstrate that the philosophical debate on the relationship between music and emotions, which developed within analytical aesthetics, is still crucial for accounting for the theory of musical expressiveness. This debate opposed cognitivists and emotivists. The former places expressiveness externally in the musical code and foresees only a cold, cognitive recognition by the listener. The latter places expressiveness in the internal emotional experience of the listener. In our view, that debate has now exhausted its propulsive arc because it was conditioned by excessive polarization. It actually showed the necessity of an interaction between cold and hot aspects, externalist and internalist perspectives of musical expressiveness, which can only be adequately addressed through a hybrid theory that re-evaluates both the external activating potentials of the musical code and the internal emotional experience of the listener.
Downloads
References
BOUWSMA, O.K., 1950, 'The Expression Theory of Art', in M. Black (ed.) Philosophical Analysis, Englewood Cliffs, NJ: Prentice Hall, pp.71–96.
BUDD, M., 1985a, Music and the Emotions: The Philosophical Theories, London: Routledge & Kegan Paul.
BUDD, M., 1985b, “Understanding Music”, Proceedings of the Aristotelian Society (Supplement), 59(1): 233–48.
BUDD, M., 1995, Values of Art: Pictures, Poetry and Music, London: Penguin.
CARUANA, F., Viola M., 2018, Come funzionano le emozioni, Bologna, Il Mulino.
DAMASIO, A., 1994, Descartes’ Error: Emotion, Reason, and the Human Brain, New York, Avon Books; trad. it. L’ errore di Cartesio. Emozione, ragione e cervello umano, Milano, Adelphi, 1995.
DAVIES, S., 1986, ‘The Expression Theory Again’, Theoria 52: 146–167.
DAVIES, S., 1994a, Musical Meaning and Expression, New York, Cornell University Press.
DAVIES, S., 1994b, “Kivy on Auditors’ Emotions” in Journal of Aesthetics and Art Criticism, Vol. 52, No. 2, 235-236.
DE SCHLOEZER, B., 1931, “Comprendere la musica”, in Rassegna Musicale, n. 1, Milano, Feltrinelli, pp. 141-152.
GRACYK, T. & KANIA, A. (eds.), 2011, The Routledge Companion to Philosophy and Music, New York: Routledge.
HANSLICK, E., 1854, Von musikalisch Schonen, Leipzig, Barth; trad. francese, De beau dans la musique, Paris, Bannellier , 1877.
HJELMSLEV, L., 1943, Omkring Sprogteoriens Grundlaeggelse; trad. ingl., Prolegomena to a Theory of Language, Madison, Wisconsin University Press, 1961; trd. it. I fondamenti della teoria del linguaggio, Torino, Einaudi, 1968.
KIVY, P., 1980, The Corded Shell, New Jersey, Princeton University Press.
KIVY, P., 1989, Sound Sentiment: An Essay on the Musical Emotions, including the complete text of “The Corded Shell”, Philadelphia: Temple University Press.
KIVY, P., 1994, “Armistice, But No Surrender: Davies on Kivy”, in Journal of Aesthetics and Art Criticism, Vol. 52, No. 2, pp. 236 – 237.
KIVY, P., 2002, Introduction to a Philosophy of Music, Oxford: Oxford University Press
JANKÉLÉVITCH, V., 2001, La musique et l’ineffable, Paris, Armand Colin, 1961; tr. it. La musica e l’ineffabile, Milano Bompiani.
JUSLIN, P.N., SLOBODA, J.A., (eds.), 2001, Music and Emotion: Theory and Research (Series in Affective Science), Oxford, Oxford University Press.
LANGER, S. K., 1953, Feeling and Form, London: Routledge & Kegan Paul.
LENTINI, D., a cura di, 2014a, La musica e le emozioni. Percorsi nell'estetica analitica, Milano, Mimesis, 2014.
LENTINI, D., 2014, Introduzione a Lentini D., a cura di, (2014), pp. 9-33.
LEVINSON, J., 1996a, “Musical Expressiveness”, in Levinson 1996c: 90–125.
LEVINSON, J., 1996b, The Pleasures of Aesthetics, Ithaca, NY: Cornell University Press.
LEVINSON, J., 2006, “Musical Expressiveness as Hearability-as-expression”, in Kieran 2006: 192–206.
LE DOUX, J., 1996, The Emotional Brain: The Mysterious Underpinnings of Emotional Life, New York, Touchstone Edition; trad.it., Il cervello emotivo. Alle origini delle emozioni, Baldini Castoldi Dalai, 2003
MADELL, G., 2003, Philosophy, Music and Emotion, Edinburgh, Edinburgh University Press.
MARCONI, L., 2001, Musica Espressione Emozione, Bologna, CLUEB.
MATRAVERS, D., 1991, Art and the feelings and emotions, British Journal of Aesthetics, 31(4), pp. 322-331.
MATRAVERS, D., 1998, Art and Emotion, Oxford: Clarendon.
MATRAVERS, D., 2003, The Experience of emotion in music, Journal of Aesthetics and Art Criticism, 61(4), pp. 353-363.
MATRAVERS, D., 2011, “Arousal Theories”, in Gracyk & Kania (2011) 212–22.
MILA, M., 1956, L’esperienza musicale e l’estetica, Torino, Einaudi.
MEYER, L. B., 1956, Emotion and meaning in music, Chicago, University of Chicago Press: trad. it. Emozione e significato nella musica, Bologna, Il Mulino, 1992.
ROBINSON, J., 2005, Deeper than Reason: Emotion and its Role in Literature, Music, and Art, Oxford: Oxford University Press.
RIDLEY, A., 1993, “Bleeding Chunks: Some Remarks about Musical Understanding”, Journal of Aesthetics and Art Criticism, 51(4): 589–96. doi:10.2307/431891
RIDLEY, A., 1995, Music, Value and the Passions, Ithaca, NY: Cornell University Press.
RIDLEY, A., 2003, “Expression in Art”, in Levinson 2003: 211–27.
RIDLEY, A., 2004, The Philosophy of Music: Theme and Variations, Edinburgh: Edinburgh University Press.
RIEMANN, H., 1900, Elemente der musikalischen Astetick, Berlin, W. Spemann.
SCHUMAN, R., 1942, La musica romantica, Torino, Einaudi.
SCHUMAN, R., 1942, Una sinfonia di Berlioz, in La musica romantica, Torino, Einaudi, 1950, pp. 32-56.
SCRUTON, R., 1983, ‘The Nature of Musical Expression’, in The Aesthetic Understanding, London: Methuen, 49–61.
STRAVINSKY, I., 1946, Poetics of Music in the Form of Six Lessons, New York, Vintage Books; trad. francese, Poétique musicale, Paris, Plon, 1952.
VELARDI, A., 2007, Che senso ha la musica? Per una semiotica dei codici monoplanari, E/C, p. 1-9, ISSN: 1970-7452
VELARDI, A., 2024, Problemi filosofici e semiologici del rapporto tra musica ed emozioni, Fascicolo del Supplemento n.10 a «Illuminazioni» (ISSN: 2037-609X), n. 67, gennaio-marzo 2024, pp. 128-150
ZENTNER, M., SCHERER, K., & GRANDJEAN, D., 2005, Which emotions can be induced by music? Paper presented at ISRE 2005, Bari.
ZHU, R., MEYERS-LEVY, J., 2005, Distinguishing between the meanings of music: When background music affects product perceptions, Journal of marketing research, 42, 3, pp. 333-345.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 De Musica
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
The author(s) grants De Musica the right to publish the work for the first time and the perpetual right to distribute it free of charge to the public through the Journal's Web site.
The author(s) retains the right to create derivative works and to reproduce, distribute, perform, or publicly display his or her work in lectures, conferences, or presentations, or other scholarly works and professional activities making explicit publication in De Musica.
The author(s) retain(s) the right to disseminate with open access, through their own website or through an institutional or disciplinary repository, the work from the time of its publication in De Musica.
The author(s) waive, in agreement with the Publisher, any form of remuneration, if any, granted by current national legislation to authors and publishers for nonprofit reprography and library lending rights.
