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Research into music and emotion seeks to understand the psychological relationship between human affect and music. The field, a branch of music psychologycovers 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 composition or performance may elicit certain reactions. Emoions
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The research draws upon, and has significant implications for, such areas as philosophymusicologymusic therapymusic theory and aestheticsas well as the acts of musical composition and of musical performance. Two of the most influential philosophers in the aesthetics of music are Stephen Davies and Jerrold Levinson. Objects can convey emotion because their structures can contain certain characteristics that resemble emotional expression. Associations between musical features and emotion differ among individuals.
Appearance emotionalism claims many listeners' perceiving associations constitutes the expressiveness of music.
Which musical features are more commonly associated with which emotions is part of music psychology. Davies claims that expressiveness is an objective property of music and not subjective in the sense of being projected into the music by the listener. Music's expressiveness is certainly response-dependent, i. Skilled listeners very similarly attribute emotional expressiveness to a certain piece of music, thereby indicating The Powerful Emotions Presented By D H to Davies that the expressiveness of music is somewhat objective because if the music lacked expressiveness, then no expression could be projected into it as a reaction to the music. The philosopher Jenefer Robinson [5] assumes the existence link a mutual dependence between cognition and elicitation in her description of 'emotions as process, music as process' theory or 'process' theory.
Robinson argues that the process of emotional elicitation begins with an 'automatic, immediate response that initiates motor and autonomic activity and prepares us for possible action' causing a process of cognition that may enable listeners to 'name' the felt emotion.
This series of events continually exchanges with new, incoming information.
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Robinson argues that emotions may transform into one another, causing blends, conflicts, and ambiguities that make impede describing The Powerful Emotions Presented By D H one word the emotional state that one experiences at any given moment; instead, inner feelings are better thought of as the products of multiple emotional 'streams'. Robinson argues that music is a series of simultaneous processes, and that it therefore is an ideal medium for mirroring such more 'cognitive' aspects of emotion as musical themes' 'desiring' resolution or leitmotif's mirrors memory processes.
These simultaneous musical processes can reinforce or conflict with each other and thus also express the way one emotion 'morphs into another over time'. The ability to perceive emotion in music is said to develop early in childhood, and improve significantly throughout development. There are two schools of thought on how we interpret emotion in music. The cognitivists' approach argues that music simply displays an emotion, but does not allow for the click experience of emotion in the listener. Emotivists argue that music elicits real emotional responses in the listener. It has been argued that the emotion experienced from a piece of music is a multiplicative function of structural features, performance features, listener features, contextual features and extra-musical features of the piece, shown as:. Structural features are divided into two parts, segmental features and suprasegmental features.
Segmental features are the individual sounds or tones that make up the music; this includes acoustic structures such as durationamplitudeand pitch.
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Suprasegmental features are the foundational structures of a piece, such as melodytempo and rhythm. Some studies find that perception of basic emotional features are a cultural universalthough people can more easily perceive emotion, and perceive more nuanced emotion, in music from their own culture.
Music has a direct connection to emotional states present in human beings. Different musical structures have been found to have a relationship with physiological responses. Research has shown that suprasegmental structures such as tonal space, specifically dissonance, create unpleasant negative emotions in participants. The emotional responses were measured with physiological assessments, such as skin conductance and electromyographic signals EMGwhile participants listened to musical excerpts.]
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