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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 ...
Songs Inspired by Literature, Chapter One: Justin Wells: The Odyssey: Homer [29] "Lay Down" Bursting at the Seams: Strawbs: The 23rd Psalm of the Book of Psalms from the Hebrew Bible and the Christian Old Testament [132] "The Legend of Enoch Arden" Songs Inspired by Literature, Chapter One: Diane Zeigler "The Legend of Enoch Arden" Alfred Lord ...
This is a list of articles, or subsections of articles, about music inspired by literature. [1] Musical settings of, or music inspired by, poems by Byron; Edgar Allan Poe and music; Music related to Anne Rice's novels; Works inspired by J. R. R. Tolkien [1] Music based on the works of Oscar Wilde; List of songs based on poems; Romeo and Juliet ...
The essence of fictional music is usually to convince the recipient that he could experience it in the real world. [1] [2] It often has a diegetic character. [3]Depending on a work, it can be serious, but it can also take on a playful and parodic character (e.g. in concert from the 1964 film The World of Henry Orient).
While now used to discuss literature, the term tone was originally applied solely to music. This appropriated word has come to represent attitudes and feelings a speaker (in poetry), a narrator (in fiction), or an author (in non-literary prose) has towards the subject, situation, and/or the intended audience.
The plainly evident emotion of Berg's music is dislocated from its cause and "deflected onto something else impossible to define", thereby contradicting its own intensity and undermining the listener's "instinctive obedience to emotive instructions", contrary to expressionism, which "tells its listeners pretty unambiguously how to react". [19]
The literary work often featured scenes of distress and tenderness, and the plot was arranged to advance emotions rather than action. The result was a valorization of "fine feeling," displaying the characters as a model for refined, moral and emotional effect.
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]