The future of musical emotions
| العنوان: | The future of musical emotions |
|---|---|
| المؤلفون: | Andrea Schiavio, Dylan van der Schyff |
| المصدر: | Frontiers in Psychology Frontiers in Psychology, Vol 8 (2017) |
| بيانات النشر: | Frontiers Media, 2018. |
| سنة النشر: | 2018 |
| مصطلحات موضوعية: | Opinion, Emotion classification, lcsh:BF1-990, musical emotions, dynamical systems theory, Musical, 050105 experimental psychology, 03 medical and health sciences, 0302 clinical medicine, Psychology, music cognition, 0501 psychology and cognitive sciences, affective science, Association (psychology), General Psychology, Music psychology, 05 social sciences, Perspective (graphical), Affective science, Zentner, lcsh:Psychology, Embodied cognition, basic emotions, 030217 neurology & neurosurgery, Cognitive psychology |
| الوصف: | Basic Emotion Theory proper (BET) has only recently begun to make an appearance in musical research (see Juslin, 1997, 2013a,b). However, much theory and research in music psychology has been driven by amore general assumption thatmusical emotions should be investigated in terms of discrete ad-hoc1 categories associated with the ways specific neuralmechanisms respond tomusical stimuli (see Schiavio et al., 2016). This has been problematized, however, by studies that show that the physiological changes associated with musical emotions do not always align clearly with those exhibited in association with everyday emotion categories (Krumhansl, 1997, p. 351; Scherer and Zentner, 2001). Such concerns have led some scholars to posit that musical emotions may be somehow different (or perhaps “impoverished”) versions of real emotions (Sloboda, 2000). In response to this, other researchers (e.g., Scherer and Coutinho, 2014) have developed models that do away with the notion of basic emotions altogether, preferring instead to describe emotional reactions to music in terms of complex information processing components that combine in various ways to produce relevant outputs (see also Huron, 2006). Still others (Krueger, 2013; van der Schyff, 2013; Schiavio et al., 2016; see also Koelsch, 2013) have suggested that reducing musical experience to a stimulus-response framework—where emotions are thought to be caused in listeners by pre-given stimuli in the environment—may play down the active and creative role living embodied agents play in musical experience. With this in mind, we offer below a brief critique of BET, suggesting that it may not in fact provide the best way forward for research in musical emotions. We then outline an alternative perspective, drawing on research that employs dynamical systems theory (DST) (Lewis and Granic, 2000; Colombetti, 2014). To conclude, we offer some preliminary suggestions for how this approach might be applied in musical contexts. Before we begin, it should be noted that musical research that draws on the idea of basic emotions has indeed produced important insights2. Such studies are carried out in controlled settings that adhere to high scientific research standards—they offer important sources of data that will have to be taken into consideration by any alternative theoretical orientation. To be clear, then, our aim is not to debunk or discredit the work of researchers endorsing BET. Rather, our goal is simply to outline another perspective that could make important contributions to the dialogue3. |
| وصف الملف: | application/pdf |
| الوصول الحر: | https://explore.openaire.eu/search/publication?articleId=doi_dedup___::89ee37cb463af78b55c84c53b555929aTest https://ora.ox.ac.uk/objects/uuid:1e05213d-d67b-4f9a-a739-1d2ef1bc5be1Test |
| حقوق: | OPEN |
| رقم الانضمام: | edsair.doi.dedup.....89ee37cb463af78b55c84c53b555929a |
| قاعدة البيانات: | OpenAIRE |
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