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Simon Vouet, Saint Cecilia, c. 1626. Research into music and emotion seeks to understand the psychological relationship between human affect and music.The field, a branch of music psychology, covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical ...
Music has been shown to consistently elicit emotional responses in its listeners, and this relationship between human affect and music has been studied in depth. [5] This includes isolating which specific features of a musical work or performance convey or elicit certain reactions, the nature of the reactions themselves, and how characteristics ...
In general, the plasticity traits (openness to experience and extraversion) affect music preference more than the stability traits (agreeableness, neuroticism, and conscientiousness), [19] but each trait is still worth discussing. The personality traits have also been shown to correlate significantly with the emotional effect music has on people.
Meyer (1956) applied Gestalt psychology principles to musical expectation, resulting in his ideas about completion, closure, and his Law of Good Continuation. In 1977, Narmour's book explicated problems he had with Schenkerian analysis and sketched ideas for a new model of analysis based on musical expectation as informed by the work of Meyer.
The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical
Adherents of the "program music" perspective believed that music could convey emotions and images. One example of program music is Berlioz 's Symphonie fantastique , in which the fourth movement is the composer's depiction of a story about an artist who poisons himself with opium and then is executed.
Revisiting the teenage angst we once felt through music allows us to review our own life story, say experts. Olivia Rodrigo has 'Guts.' Taylor Swift is 'Fearless.'
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]