The Empirical Aesthetics of Music

Author(s):  
Elvira Brattico

This chapter provides a structured overview of studies accounting for the aesthetic responses to music. Bottom-up accounts linking preference with determined stimulus features are distinguished from other cognitivist, emotivist, or contextual accounts putting more weight on nonappearance properties related to the individual life experience. Additionally, models of the musical aesthetic experience that emphasize psychological processes are illustrated as distinct from models that account also for the neural mechanisms involved. While most findings concentrate on the aesthetic response of pleasure or preference, fresh efforts are projected toward understanding other aesthetically tinged dimensions such as evaluative judgments and attitudes. Naturalistic approaches are promising toward understanding from the daily drive to musical activities to the life-changing peak experiences of music.

2016 ◽  
Vol 9 (1) ◽  
pp. 160-167
Author(s):  
Camilla Pagani

Background: According to the Latin poet Virgil, art is capable of revealing to us what no science can ever reveal to a human mind. The main thesis of this paper is that art can play an extremely beneficial role in society as it can strongly foster humans’ efforts to attain a deeper and broader comprehension of reality. Objective: The experience of art can provide a powerful contribution to the efforts to avoid resorting to violence and to address conflicts constructively. Violence or, more exactly, unjustified violence, basically rests on an irrational and short-sighted analysis and interpretation of reality. Results: The psychological processes relating to the aesthetic experience and to its connections with violence are described. It is also pointed out that this theoretical perspective does not fully coincide with the theoretical theses underpinning art therapy. In fact, in this paper art is not considered as a mere therapeutic instrument. Instead, an attempt has been made to consider art and our relationship with art in their more complex and partly still unexplored aspects, where neither art or the individual is “at the service” of the other. Conclusion: Art can provide the possibility to experience a new dimension, where no power relations exist and where new ways of seeing and feeling are made possible. It can hence foster the development of less primitive and richer personalities. In this way violence should lose its raison d’être. So it appears that this theoretical approach might be particularly helpful in order to better understand and countervail violence.


1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.


1986 ◽  
Vol 62 (2) ◽  
pp. 531-539 ◽  
Author(s):  
Leonard Zusne

A reconceptualization of some of the ideas associated with the aesthetic experience is proposed. The problems that arise in defining the terms ‘beautiful’ and ‘perfect’ may be overcome by substituting the term ‘fittingness.’ The core of the aesthetic experience is the experience of some degree of fit between the specimen (the aesthetic object or event) and the corresponding standard. The degree of fit determines the intensity of the experience. The essential element of the aesthetic experience is the process of collation between specimen and standard, but the nature of the experience must be sought in the realm of motivation. To every instance of an extrinsive motive that begins with a deficiency, stimulation, or conflict and ends in homeostasis, there corresponds an intrinsic motive that is self-reinforcing. Cognitive conflicts lead to cognitive dissonance, and cognitive equilibrium is achieved by various cognitive means. There is also a state of cognitive consonance, which is sought for its own sake. The aesthetic experience is the experience of cognitive reinforcement that occurs upon the realization that the aesthetic specimen approximates or fits the model of perfection currently held by the individual. This reinforcing experience of cognitive consonance is the core of the aesthetic experience. This view is compared with Berlyne's theory.


1989 ◽  
Vol 69 (1) ◽  
pp. 339-348 ◽  
Author(s):  
A. C. Parrott

The effects of exposure to a series of colour slides of paintings by Paul Klee were assessed with 69 nonexpert subjects. All subjects viewed the same 2 paintings by Klee while the other 10 paintings were varied between groups. The control group viewed paintings by 10 different artists (da Vinci, Picasso, Rubens, Dali). The first experimental group viewed 10 different paintings by Klee while the second experimental group saw 3 Klees in close detail. Differences in response to the 2 Klees seen by every group comprised the empirical data. The experimental groups produced higher ratings on questions of painting style; it was judged significantly more ‘clear’ and ‘representational’ in comparison with control group scores. Emotional expression was also significantly affected, but ratings of liking the painting were not generally changed. The effects of familiarity depend upon the nature of the aesthetic response being evaluated. Familiarity breeds understanding and perhaps comfort, but not increased interest.


2012 ◽  
Vol 1 ◽  
pp. 22-40
Author(s):  
Zoltán Varga

The paper tries to analyse how the irruption of history was transformed into an artistic and intellectual challenge in the autobiographical works of Sándor Márai. Márai who started to keep his diary in 1943 inspired by his readings of the diaries of André Gide sought to construct an authentic space of presence, safe from historical time and from the discourses of public opinion, in order to devote himself to researching the singularity of his existence and his “lived time”. But the programme of his diary was progressively changed: although Márai had started recording his daily observations and reflections with a similar detachment from public affairs as Gide, during the course of the war, his diary became more and more determined by public discourses. The Hungarian writer shifted his perspective from the individual to the collective, the aphoristic discourse giving way to passionate accusations. His reflection, which earlier belonged to the order of cognition, turned later into the order of ethic, in a mixture of moral reflection, political commitment, expression, and performative verbal action. But the overshadowing of the aesthetic experience of the world during the chaotic years of his intellectual and artistic confusion also had its dangers, namely the incursion of semi-public political and ideological discourses in Márai’s wartime diaries. In the reformulation of his wartime experiences thirty years later – in the Memoir of Hungary – Márai succeeded in finding a new artistic form to represent his past. The complexity of narrative structures and temporal composition, the dramatic and metaphorical correlation of the changing social, national and psychological components of identity represented in the Memoir of Hungary creates a particular literary (aesthetic) effect, which in turn intensifies our reading experience and encourages the reader to go beyond the ideological constructions of official historical writing.


Author(s):  
José Quaresma ◽  

In this article we share the conviction that any aesthetic judgement is compounded of extreme spontaneity (I); communicated share (and not a presumed share) - the demands set by the Other of the communication and the conflict of two distinct claims (II); the personal synthesis between the individual spontaneity and the results of the share done with the Other of the aesthetic communication (III). We also admit that these three aesthetic occurrences are equally needed to the aesthetic communication, but we lay stress on the first occurrence - extreme spontaneity - as the “touch stone” of both aesthetic experience and judgement’s communication. What we corne to emphasize is that the occurrence “extreme spontaneity” is not just the very basis of the aesthetic experience, but as well, the “touch stone” of the aesthetic communication that never fades away of the discussion, even when the most rational arguments are present. As a mater of fact, this occurrence is there at the very first moment, persists secretly and strategically at the second one - moment of the communicated share - and reappears openly at the synthetic occurrence. We also defend that the “extreme spontaneity” is the occurrence that generates the suspicion’s exercise about the excesses of the communication’s rationality; that makes the suspicion something permanent (sometimes visible others latent); and finally, allows us to say that without its craft and the sensitive suspecting power the communication of the aesthetic judgement loses its authenticity and becomes empty in its universal claiming and tensional life.


Author(s):  
Tu Wei-Ming

Chinese philosophy may be viewed as disciplined reflections on the insights of self-cultivation. Etienne Balazs asserted that all Chinese philosophy is social philosophy and that, even if Chinese thinkers dwell upon metaphysical speculation, they will sooner or later return to the practical issues of the world here and now. This concern for the concreteness of the life-world gives the impression that the social dimension of the human condition features so prominently in the Chinese world of thought that the idea of the group takes precedence over conceptions of the individual self. The anthropological studies that contrast the Chinese sense of shame with the Western sense of guilt further enhance the impression that external social approval, rather than internal psychological sanction, defines the moral fabric of Chinese society. The prevalent sociological literature on the mechanism of ‘saving face’ as a key to understanding Chinese interpersonal relationships also stresses the centrality of external conditioning in Chinese ethics. If we follow this line of thinking, it is easy to assume that Chinese philosophers are preoccupied with neither the transcendent referent nor the inner psyche. They are not particularly interested in questions of ultimate reality such as the creator, the origin of the cosmos or the existence of God. Nor are they engrossed in problems of the mind such as consciousness, self-identity or moral choice. Indeed, Chinese philosophy as social philosophy seems exclusively immersed in issues of correct behaviour, familial harmony, political order and world peace. Even strands of thought that emphasize the aesthetic experience of the self are all intimately bound up with the highly ritualized world of human-relatedness. Actually the spirit of spontaneity, as a liberation from social constraints, should be appreciated in terms of a conscious reflection on and critique of society and thus inherently sociological. However, this widely held opinion of Chinese philosophy is seriously flawed. While it offers a common-sense picture of where the strength of Chinese thought lies, it does not address the underlying reasons or the actual processes that define the main trajectory of the Chinese modes of thinking. Wing-tsit Chan suggests a more comprehensive characterization of Chinese philosophy as humanism: ‘not the humanism that denies or slights a Supreme Power, but one that professes the unity of man and Heaven’ (Chan 1963: 3). It is crucial to note that ‘humanism’ so conceived is diametrically opposed to secular humanism as a distinctive feature of the Enlightenment mentality of the modern West. Western humanism emerged as a thorough critique of spiritualism and a radical departure from naturalism, or a sense of affinity with nature; it was the result of secularization. Chinese humanism, on the other hand, tends to incorporate the spiritual and naturalist dimensions in a comprehensive and integrated vision of the nature and function of humanity in the cosmos. The advantage of characterizing Chinese philosophy as humanistic rather than sociological is to open the possibility of allowing aesthetic, religious and metaphysical as well as ethical, historical and political perspectives to shape the contours of the Chinese reflective mind. This synthetic approach better captures the spirit of Chinese thought because it was historical and social change, rather than speculation, which was instrumental in the outgrowth of humanism as a defining characteristic of Chinese philosophy.


Author(s):  
Manuela Marin

Daniel Berlyne and his New Experimental Aesthetics have largely shaped the field since the 1970s by putting the study of collative variables related to stimulus features in the foreground, embedded in the context of motivation, arousal, and reward. Researchers from various fields have extensively studied the role of novelty, surprise, complexity, and ambiguity in aesthetic responses since then, employing a wide range of behavioral, computational, and neuroscientific methods. These studies have been conducted in different sensory and artistic domains, such as in music, literature, and the visual arts. The insights gained from these efforts are very promising from a broader theoretical perspective, and have opened up new avenues of research going beyond Berlyne’s psychobiological model of aesthetic response, leading to manifold applications in several practical fields.


1993 ◽  
Vol 11 (2) ◽  
pp. 167-175 ◽  
Author(s):  
C. T. Patrick Diamond

The empirical study of appreciators' psychological processes includes the examination of self-generated aesthetic schemas and meanings. If the individual voice and vision of the artist has often been missing from much of the previous literature and discussion of aesthetic response, non-empirical art critics may have promoted their own voices and positions instead by using the recondite and all but impenetrable metalanguage of criticism. As a counterexample from numerical phenomenological methodology, Kelly's psychology of personal constructs and its Repertory grid technique [1] are shown helping an artist-spectator to recover and to reflect on his own responses to one of his exhibitions. Shaw's interactive and multivariate FOCUS technique enables the grid to serve these ideographic purposes [2].


2019 ◽  
Vol 13 (1-2) ◽  
pp. 2
Author(s):  
Clément Canonne

Is there something peculiar in our appreciation of improvised music? How does knowing that the music we are listening to is improvised affect our experience? As a first step in answering these questions, I have conducted an experiment in which an audio recording of the very same piece of music – a saxophone/clarinet freely improvised duet – was presented to 16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition). Listeners were encouraged both to reflect on their listening experience and to describe in their own words the music they heard. First, evaluative judgments were strongly different in the two listening conditions: listeners approached the piece with specific sets of values in mind, by relying on different features or different kinds of criteria (aesthetic ones in the COMPO condition vs ethical ones in the IMPRO condition) to ground their appreciative judgments. Second, and maybe more importantly, listening experiences were quite different in the two conditions: in the COMPO condition, the piece was more commonly experienced as a sonic product, with listeners paying great attention to the various acoustical effects achieved by the musicians and to the overall structure (or lack thereof); in the IMPRO condition, the music was often described as a kind of communicational or relational process, with descriptions that largely interweaved music-specific terms and more broadly social terms. Overall, this experiment shows that our listening experience can be dramatically affected by modal considerations, i.e., by how we think the music was produced. More specifically, it sheds some light on what constitutes the core of the aesthetic experience of improvisation by exhibiting what is centrally at play (and what is not) when we listen to collectively improvised music.


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