What is special about musical emotion?

Flaig, Nicole; Large, Edward W.

doi:10.1016/j.plrev.2013.07.014

Cited by 2 publications

(3 citation statements)

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“…Secondly, the consumer of music must find recourse and patience in this idea of music as a profoundly auditory expression or articulation of a sonic note, executed either in a series, and as an emission of notes such as generates an 'esthetic' category for a context of listeners [9][10][11]. Music emotion is esthetic emotion.…”

Section: Introductionmentioning

confidence: 99%

“…But recent studies on neurodynamic changes of 'core affect' better explains -how music emotions are manipulated through the system to elicit these specific types of estheticemotive states -what we may properly designate esthetically 'charged' (or polarized) emotive states. Henceforth, it should be logical to associate music emotions with esthetically satisfactory perceptions in emotion induction and appraisal rather than as a simplistic or 'primary' emotion consciousness [9,10,[12][13][14][15]. A strong case for music emotions is made by Flaig and Large [9].…”

Section: Introductionmentioning

confidence: 99%

“…Henceforth, it should be logical to associate music emotions with esthetically satisfactory perceptions in emotion induction and appraisal rather than as a simplistic or 'primary' emotion consciousness [9,10,[12][13][14][15]. A strong case for music emotions is made by Flaig and Large [9].…”

Section: Introductionmentioning

confidence: 99%

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Emotive Quality Transformations in Music: The Psychoaesthetics of Emotion Polarization

Prasad¹,

Armando²

2024

The Theory and Practice of Group Therapy

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The author investigates if musical modes have definitive emotive contents and following this, if certain modes have affective potentials that are targeted and specific to forms of appraisal. Do certain note clusters occupy emotive loops in accordance with certain basic emotion types - and so what may be, therefore, the general rule for valence appraisals of basic emotions activated by targeted note clusters. The co-existence of connectionist circuits or engram activation routes would have to be conjectured. Finally, a multidisciplinary approach shows us that a new pattern of a psychoaesthetic valence-aggrandized happy or positive version of emotions would have to be considered. There is no such existing proposal for a ‘version’ theory of basic emotions. We propose that a psychoaesthetic version of basic emotions exists. Next, we also defend the possibility of polarization of emotions through entrainment. Music may have the ability not just to evoke any given emotional state or state of feelings in the psychoaesthetic spectrum but also to polarize basic emotions to create a value-added experience. Conclusions from the discussion suggest that music appraisals may have far-reaching implications for the understanding of the ontological quality of music and its relations to well-being and mental health.

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Section: Introductionmentioning

confidence: 99%