The Living Quality of Music

Clynes, Manfred; Nettheim, Nigel

doi:10.1007/978-1-4684-8917-0_4

Cited by 88 publications

(19 citation statements)

References 11 publications

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“…With regard to laterality, in the case of subjects with tumours, strokes or epileptic foci, the indication is that the non-dominant hemisphere seems to play an important role. This is consistent with what is known about music processing in the brain [31][32][33][34]. It also suggests a distinction be tween musical hallucinations and the puta tive mechanisms linked to hallucinatory voices in schizophrenia which seem related to the dominant hemisphere [35.…”

Section: Discussion and C Onclusionssupporting

confidence: 77%

Musical Hallucinations: A Statistical Analysis of 46 Cases

Berríos¹

1991

Psychopathology

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Musical hallucinations remain rare, are more common in women, and their onset is often related to ear pathology, particularly deafness. When brain disease is involved, pathology of the right or non-dominant hemisphere seems overrepresented. Psychosis and personality traits play a minimal role in their development. A discriminant function was constructed that correctly predicted the presence of brain disease (89%) and included the following clinical variables: being male, having acute onset musical hallucinations, and absence of deafness, psychiatric disease, and other forms of hallucination.

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Section: Discussion and C Onclusionssupporting

confidence: 77%

Musical Hallucinations: A Statistical Analysis of 46 Cases

Berríos¹

1991

Psychopathology

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“…Apart from the highly restrictive behavioral rules for listening to classical music in Western concert halls, music elicits not just inwardly experienced emotions but also responding movements on the part of the audience (cf. Clynes & Nettheim, 1982; Davidson & Correia, 2001; Epstein, 1995; Jackendoff & Lerdahl, 2006; Konečni, 2008). Similarly, quiet, inactive attendance became a rule of decent theater behavior only during the 19th century (Heim, 2015, pp.…”

Section: Prototypical Properties Of Aesthetic Emotionsmentioning

confidence: 99%

What are aesthetic emotions?

Menninghaus¹,

Wagner²,

Wassiliwizky³

et al. 2019

Psychological Review

258

242

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This is the first comprehensive theoretical article on aesthetic emotions. Following Kant’s definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Each aesthetic emotion is tuned to a special type of perceived aesthetic appeal and is predictive of the subjectively felt pleasure or displeasure and the liking or disliking associated with this type of appeal. Contrary to the negativity bias of classical emotion catalogues, emotion terms used for aesthetic evaluation purposes include far more positive than negative emotions. At the same time, many overall positive aesthetic emotions encompass negative or mixed emotional ingredients. Appraisals of intrinsic pleasantness, familiarity, and novelty are preeminently important for aesthetic emotions. Appraisals of goal relevance/conduciveness and coping potential are largely irrelevant from a pragmatic perspective, but in some cases highly relevant for cognitive and affective coping. Aesthetic emotions are typically sought and savored for their own sake, with subjectively felt intensity and/or emotional arousal being rewards in their own right. The expression component of aesthetic emotions includes laughter, tears, and facial and bodily movements, along with applause or booing and words of praise or blame. Aesthetic emotions entail motivational approach and avoidance tendencies, specifically, tendencies toward prolonged, repeated, or interrupted exposure and wanting to possess aesthetically pleasing objects. They are experienced across a broad range of experiential domains and not coextensive with art-elicited emotions.

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“…Cross-modal processing of music has been addressed before (see also the two examples in the second paragraph). For example, it has been hypothesized that dynamic procedures of touch have parallels with those of emotional musical expressions (Clynes & Nettheim, 1982), and it has been shown that music may even influence gustation to the extent that, in an experiment, the taste of the wine seemed to reflect the emotional connotations of background music participants listened to while they drank the wine (North, 2012).…”

mentioning

confidence: 99%

Blame it on the bossa nova: Transfer of perceived sexiness from music to touch.

Fritz¹,

Brummerloh²,

Urquijo³

et al. 2017

Journal of Experimental Psychology: General

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Emotion elicited through music transfers to subsequent processing of facial expressions. Music may accordingly function as a social technology by promoting social bonding. Here, we investigated whether music would cross-modally influence the perception of sensual touch, a behavior related to mating. A robot applied precisely controlled gentle touch to a group of healthy participants while they listened to music that varied with respect to its perceived sexiness. As the perceived sexiness of the music increased, so did the subjective sexiness of the touch stimulations. In short, the perception of sexiness transferred from music to touch. Because sensual touch is key to mating behavior and relates to procreation, this association has implications for the universality and evolutionary significance of music. (PsycINFO Database Record

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The Living Quality of Music

Cited by 88 publications

References 11 publications

Musical Hallucinations: A Statistical Analysis of 46 Cases

Musical Hallucinations: A Statistical Analysis of 46 Cases

What are aesthetic emotions?

Blame it on the bossa nova: Transfer of perceived sexiness from music to touch.

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