Why Music Moves Us

Bicknell, Jeanette

doi:10.1057/9780230233836

Cited by 33 publications

(27 citation statements)

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“…However, current views of musical 'beauty' emphasize the interaction between the 835 perceiver and the object: beauty is considered to emerge from a relationship between the listener and the music (conceptualised as perceptual fluency or 29 processing dynamics [198]), rather than any 'objective' features of the musical material or 'subjective' features of the listener alone [24]. Furthermore, recent findings as well as past discussions [199] suggest that there may be a significant 840 emotional component that contributes to the association between beauty and sadness. Vuoskoski and Eerola [48] aimed to elucidate the interconnections of sadness, beauty, and liking in a systematically selected set of film music examples.…”

Section: Aesthetic Appreciation and Beautymentioning

confidence: 99%

An integrative review of the enjoyment of sadness associated with music

Eerola

Vuoskoski

Peltola

et al. 2018

Physics of Life Reviews

104

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Citation for published item:ierolD F nd uoskoskiD tF uF nd eltolD rFEF nd utkinenD F nd h¤ ferD uF @PHIUA 9en integrtive review of the enjoyment of sdness ssoited with musiF9D hysis of life reviewsF F Further information on publisher's website: httpsXGGdoiForgGIHFIHITGjFplrevFPHIUFIIFHIT Publisher's copyright statement:Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThe recent surge of interest towards the paradoxical pleasure produced by sad music has generated a handful of theories and an array of empirical explorations on the topic. However, none of these have attempted to weigh the existing evidence in a systematic fashion. The present work puts forward an integrative framework laid out over three levels of explanation -biological, psycho-social, and cultural -to compare and integrate the existing findings in a meaningful way. First, we review the evidence pertinent to experiences of pleasure associated with sad music from the fields of neuroscience, psychophysiology, and endocrinology. Then, the psychological and interpersonal mechanisms underlying the recognition and induction of sadness in the context of music are combined with putative explanations ranging from social surrogacy and nostalgia to feelings of being moved. Finally, we address the cultural aspects of the paradox -the extent to which it is embedded in the Western notion of music as an aesthetic, contemplative object -by synthesising findings from history, ethnography, and empirical studies. Furthermore, we complement these explanations by considering the particularly significant life meanings that sadness portrayed in art can evoke in some perceivers. Our central claim is that one cannot attribute the enjoyment of sadness fully to any one of these levels, but to a chain * Corresponding author Email address: tuomas.eerola@durham.ac.uk (Tuomas Eerola)Preprint submitted to Physics of Life Reviews November 10, 2017 of functionalities afforded by each level. Each explanatory level has several putative explanations and its own shift towards positive valence, but none of them deliver the full transformation from a highly negative experience to a fully enjoyable experience alone. The current evidence within this framework ranges from weak to non-existent at the biological level, moderate at the psychological level, and suggestive at the cultural level. We propose a series of focussed topics for future investigation that would allow to deconstruct the drivers and constraints of the processes leading to pleasurable music-related sad...

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Section: Aesthetic Appreciation and Beautymentioning

confidence: 99%

An integrative review of the enjoyment of sadness associated with music

Eerola

Vuoskoski

Peltola

et al. 2018

Physics of Life Reviews

104

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“…Caregiver-child bonding through music was central to the intent of the parent-child music classes, and drew on music's unique characteristics that encourage the forming and sustaining of relationships, e.g., its ability to elicit synchrony, using a strong regular beat to foster more coordinated group singing (Bicknell, 2009;Crowe, 2004). Group synchrony and identification were also assisted with the development of children's social skills and maternal wellbeing.…”

Section: Discussionmentioning

confidence: 99%

Teen Mother and Child Experiences in a Parent-Child Music Program

Emmerson¹,

Nicol²,

McIntyre³

2016

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In this paper, we outline the rationale and growing research base for parent-child music programs as a means to strengthen caregiver-child bonding, with particular interest in positively impacting the lives of adolescent mothers and their infants. Secondary schools that offer daycare and parenting classes are ideal sites for delivering parent-child music programs, and music educators are well situated to become involved in such initiatives.

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“…Jac uses music to escape, to express, to explain, and to examine her life because, as Szekely ( 2003 ) argues, "in a musical space there is no intention, only retention, protention, ecstasy" (p. 126). Szekely's comments are echoed by Jac's elucidation that she loses herself in "insane, docile, mindless states of pure musicgasming, ecstasy inducing, euphoric moments of freedom within the realms of music", which Bicknell ( 2009 ) supports in her discussion of the myriad social and emotive ways that music moves people.…”

Section: Musicking As a Performative Literacies-learning Actmentioning

confidence: 94%

Musicking as Literacy: Possibilities and Pragmatisms for Literacies Learning

Riddle

2014

Literacy in the Arts

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Much work has been done in opening up the fi eld of literacy learning through the work of the New Literacy Studies movement, multiliteracies pedagogy and multiple literacies theory, although the potential of music as a particular human artistic, aesthetic, social and emotional experience in connecting young people to their literacy learning is still relatively unmapped. This chapter will present some possibilities and pragmatisms for literacy learning, arising from a study that sought to map connections between music, literacy learning and the lives of teenagers. Theoretically and methodologically informed by narrative inquiry and poststructuralist thinking, in particular the work of Gilles Deleuze, the study investigated how literacy links to music in the lifeworlds of young people in an attempt to trouble presupposed distinctions between literacy and music.

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Why Music Moves Us

Cited by 33 publications

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An integrative review of the enjoyment of sadness associated with music

An integrative review of the enjoyment of sadness associated with music

Teen Mother and Child Experiences in a Parent-Child Music Program

Musicking as Literacy: Possibilities and Pragmatisms for Literacies Learning

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