Once More "Between Absolute and Program Music": Schumann's Second Symphony

Newcomb, Anthony

doi:10.2307/746379

Cited by 80 publications

(10 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…One other point: Music does not induce only visual imaginings. Much instrumental music of the Romantic period encourages more abstract imaginings, such as Beethoven's Fifth, which enacts the drama of a struggle leading to victory (Newcomb 1984).…”

Section: Jenefer Robinsonmentioning

confidence: 99%

Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,247

1,021

View full text Add to dashboard Cite

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

show abstract

Section: Jenefer Robinsonmentioning

confidence: 99%

Emotional responses to music: The need to consider underlying mechanisms

Juslin

Västfjäll²

2008

Behav Brain Sci

1,247

1,021

View full text Add to dashboard Cite

show abstract

“…In fact, it has been suggested that the construction of narratives is fundamental to the way humans make sense of the world and their experiences in it (e.g., Polkinghorne, 1988). The idea of instrumental music conveying meaning in the form of implicit 'narratives' has been discussed quite extensively in the field of music philosophy (e.g., Cone, 1977;Maus, 1997;Newcomb, 1984;Treitler, 1989), but less so in the domain of music psychology (exceptions being Lavy, 2001;Shaffer, 1992). The view of the 'narrative' as an emergent property of the listening process (see Lavy, 2001), rather than an object or a property of the music itself, may hold the most promise for psychological studies on music and emotions.…”

mentioning

confidence: 99%

Extramusical information contributes to emotions induced by music

Vuoskoski

Eerola

2013

Psychology of Music

View full text Add to dashboard Cite

Little is known about how extramusical, contextual information about a piece of music influences the emotions induced by that piece. The present study aimed to investigate this question by providing two groups of participants (both n = 30) with two different descriptions regarding the original context of a sad-sounding piece of film music; a description of a concentration camp scene or a description of a nature documentary. The results of these two groups were compared to previously collected data (N = 60), where participants listened to either the same, sad-sounding piece of music without a description, or to neutral-sounding music. The induced emotions were measured as objectively as possible using indirect memory and judgment tasks. The results suggest that contextual information about a musical piece may indeed influence the emotional effects of that piece, as the sad narrative description appeared to intensify the sadness induced by the sad-sounding piece. The narrative descriptions may have enhanced emotion induction via the visual imagery mechanism (suggested by Juslin & Västfjäll, 2008), as 80% of participants in both groups reported thinking about imagery related to the narrative descriptions provided.

show abstract

“…11 Among such attempts we should count documentaries that depict people killed during rock concerts (e.g., Gimme Shelter, 1970), victims of war in Vietnam (Hearts and Minds, 1974), people dying of AIDS (The Broadcast Tapes of Dr. Peter, 1994), and people literally growing up on camera (Michael Apted's "Up Series" of 1970, 1977, 1984. All of these films depict physiological processes that cannot be faked; hence, they elicit a very strong feeling that, at least on some level, these bodies provide direct access to the minds.…”

Section: Death or Fiction: Cinéma Vérité's Choice?mentioning

confidence: 99%

Getting inside your head: what cognitive science can tell us about popular culture

2013

Choice Reviews Online

View full text Add to dashboard Cite

In which Clarissa is fooled while Evelina watches a fool; Lev Tolstoy, Ernst Lubitsch, and Alfred Hitchcock walk into a hippodrome; and readers are made to think first of Cary Grant and then of Colin Firth. FIVE Movies: The Power of Restraint 79 In which readers return to Hitchcock's Notorious and realize that neither a bowl of soup nor a cup of coffee are what they seem to be; Matt Damon plays poker; Humphrey Bogart loses the girl; Helen Mirren loses a crumpet; Ralph Fiennes loses his cool; Hillary Clinton almost coughs; and blame is wrongly assigned. Contents 9781421406169_Zunshine_Head_int_1pgs.indd 7 3/2/12 12:44 PM Coda 179 Notes 181 Bibliography 197 Index 211 9781421406169_Zunshine_Head_int_1pgs.indd 8 3/2/12 12:44 PM 10 2. Jennifer Ehle as Elizabeth Bennet 35 3. Colin Firth as Mr. Darcy 36 4. Joon B. Kim, Brad Pitt, and Edward Norton in Fight Club 50 5. Clarissa (Saskia Wickham) and Lovelace (Sean Bean) at the theater 61 6. Spying on other spectators in Lady Windermere's Fan 66 7. Mrs. Erlynne (Irene Rich) framed by binoculars in Lady Windermere's Fan 67 8. Lord Darlington (Ronald Colman) notices Lord Windermere's (Bert Lytell's) interest in Mrs. Erlynne 68 9. Lord Darlington and Lord Windermere feign interest in the program 69 10. Men turn to look at Mrs. Erlynne 70 11. Horse races in Hitchcock's Notorious 71 12. Paul Ashworth (Colin Firth) watches football in Fever Pitch 75 13. Alicia (Ingrid Bergman) looks at a cup of coffee in Notorious 82 14. The cup of coffee from Notorious 83 15. Elizabeth (Helen Mirren) gives up the crumpet in The Queen 88 16. Elizabeth weeps with her back to the camera in The Queen 89 17. Mike McDermott (Matt Damon) in Rounders 91 18. Herbie (John Turturro) watches Charles (Ralph Fiennes) in Quiz Show 95 19. Herbie steps behind the corner 96 20. Dawn (Lucy Davis) and David (Ricky Gervais) in The Office 105 21. A child with a puppet 112 Illustrations ix 9781421406169_Zunshine_Head_int_1pgs.indd 9 3/2/12 12:44 PM x ILLU ST R ATIO N S 22. Nellie (Mitzi Gaynor) thinks in song in South Pacific 127 23. Emile (Rossano Brazzi) thinks in song in South Pacific 128 24. The freeze-frame shot behind Marlon Brando in Guys and Dolls 131 25. My Fair Lady: "Where the devil are my slippers?" (Rex Harrison and Audrey Hepburn) 133 26. Dot (Bernadette Peters) prancing onstage next to her dress in Sunday in the Park with George 135 27. Dot (Bernadette Peters) poses for George (Mandy Patinkin) 136 28.

show abstract

Once More "Between Absolute and Program Music": Schumann's Second Symphony

Cited by 80 publications

References 5 publications

Emotional responses to music: The need to consider underlying mechanisms

Emotional responses to music: The need to consider underlying mechanisms

Extramusical information contributes to emotions induced by music

Getting inside your head: what cognitive science can tell us about popular culture

Contact Info

Product

Resources

About