Aesthetic empowerment through music

Brattico, Elvira; Varankaitė, Ulrika

doi:10.1177/1029864919850606

Cited by 21 publications

(23 citation statements)

References 116 publications

(135 reference statements)

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“…Interaction with art, and interactive multimedia art in particular, can facilitate that empowerment when it helps to establish meaningful interactions and (aesthetic) experiences that would otherwise be difficult to attain. Through, art, people's mood, memory, focused attention (see Brattico and Varankaité 2019), motivation and agency (Fritz et al 2013), and physical capabilities (Moumdjian et al 2017) can be enhanced, which makes them stronger for future interactions (also outside art contexts). Previous research (e.g.…”

Section: Empowermentmentioning

confidence: 99%

Integrative Research in Art and Science: A Framework for Proactive Humanities

Lesaffre

Leman

2020

Critical Arts

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We argue that current cultural developments, driven by innovative technology, call for a reconsideration of the role of humanities as a field of study in which art and science is tightly integrated. This integration would allow the humanities to develop a proactive power such that it can (co-)steer the innovative developments of the techno-culture. Integrated art-science research may be realized in contexts where human expressive interaction with multimedia is investigated. Research outcomes from this domain may offer opportunities for humanities to contribute to cultural developments. Given the context of interactive multimedia, we offer a theoretical framework based on art-science research concerning: (1) human interaction, (2) interaction systems, and (3) cultural and societal interaction outcomes. The goal of the framework is to contribute to a new ambition for the humanities, one in which knowledge about culture, on top of being reflective, critical, and descriptive, has an intrinsic power to contribute to innovative techno-cultural developments.

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Section: Empowermentmentioning

confidence: 99%

Integrative Research in Art and Science: A Framework for Proactive Humanities

Lesaffre

Leman

2020

Critical Arts

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“…Acoustic roughness and screams, further, activate the primary auditory cortex and the amygdalae. These structures are linked to the neural coding mechanisms that enable quick responses to acoustic cues, which are related to auditory salience and potential danger and so are critical for a rapid appraisal to ensure biological efficiency [ 58 ]. Other features that modulate or accentuate speech and/vocalizations are increased loudness and high pitch, but although they contribute to potential fear responses, they are not sufficiently distinctive to evoke the specific involved emotions.…”

Section: Does the Music Matter? Acoustic Features As Candidate Elicitors Of Induced Responsesmentioning

confidence: 99%

“…Techno music, on the other hand, has been found to belong to the second category of arousing signals [ 66 ]. Also, certain styles of rock music, with human screams that resemble natural alarm signals, are characterized by high roughness [ 58 ]. In many cases the aesthetics of pop, rock, techno, and metal—sometimes referred to as the “sound-as-power approach—are also concerned about the distribution, balance and dynamics of spectral energy to create a saturated, dense sound [ 40 , 67 , 68 ].…”

Section: Does the Music Matter? Acoustic Features As Candidate Elicitors Of Induced Responsesmentioning

confidence: 99%

“…Though it is possible to conceptually distinguish both perspectives, they are quite intertwined with the neurological level being the ultimate explaining mechanism for the generation of the aesthetic emotion of enjoyment. This is clear from recent studies within the emerging field of neuroaesthetics and neuroaesthetics of music, which try to understand the neural modulating factors that underlie aesthetic experiences in general and positive emotional responses to the music [ 8 , 58 , 92 , 105 , 106 , 107 , 108 , 109 , 110 ]. It is a challenging new field that aims at explaining musical behavior in terms of stimuli, brain physiology, and motor responses [ 40 ].…”

Section: Neural Mechanisms Of Coping With the Soundsmentioning

confidence: 99%

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Neural Correlates of Music Listening: Does the Music Matter?

2021

Self Cite

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The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one’s own “daimon” or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

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“…The neuroaesthetic approach has also been applied to the realm of music [ 21 ], with the musical-aesthetic experience as an example [ 22 , 23 , 24 , 25 , 26 ]. This has been defined by Brattico and Pearce in operational terms as “[an experience] in which the individual immerses herself in the music, dedicating her attention to perceptual, cognitive, and affective interpretation based on the formal properties of the perceptual experience” [ 24 ] (p. 49).…”

Section: Setting the Stage: Naturalizing Aestheticsmentioning

confidence: 99%

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World

Reybrouck

Podlipniak

Welch

2021

IJERPH

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This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.

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Aesthetic empowerment through music

Cited by 21 publications

References 116 publications

Integrative Research in Art and Science: A Framework for Proactive Humanities

Integrative Research in Art and Science: A Framework for Proactive Humanities

Neural Correlates of Music Listening: Does the Music Matter?

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World

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