Trends in the Aesthetic Responses of Children to the Musical Experience

1985 ◽  
Vol 33 (3) ◽  
pp. 193 ◽  
Author(s):  
David J. Nelson
Keyword(s):  
Musical Experience ◽  
Aesthetic Responses ◽  
The Aesthetic

scholarly journals Musikkfilosofiske tankekonstellasjoner om musikalsk mottakelighet og språk

2020 ◽  
pp. 95-109
Author(s):  
Henrik Holm
Keyword(s):  
Basic Concept ◽  
Musical Experience ◽  
Central Importance ◽  
Philosophy Of Music ◽  
The Aesthetic ◽  
Do So

This essay focuses on two themes: man’s receptivity to music, and the verbalization of musical experience in a philosophical context. I begin with the listener’s attraction to music and then move on to longing as a basic concept in understanding musical receptivity. In the philosophy of music, the aesthetic-musical experience is of central importance to being able to verbally express what happens in the meeting between music and listener. Three central philosophers of music, Nietzsche, Adorno and Jankélévitch, all address the possible language character of music, although they do so in different ways and with different aims. I expand on some thoughts of these philosophers that open up for three different constellations of thought about the path from the aesthetic-musical receptivity to music to the philosophical verbalization of man’s attraction to music.

Aesthetic Responses to a Series of Paintings by Paul Klee

1989 ◽  
Vol 69 (1) ◽  
pp. 339-348 ◽  
Author(s):  
A. C. Parrott
Keyword(s):  
Emotional Expression ◽  
Empirical Data ◽  
Da Vinci ◽  
The Other ◽  
Control Group ◽  
Aesthetic Response ◽  
Paul Klee ◽  
Aesthetic Responses ◽  
The Aesthetic ◽  
Experimental Group

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.

scholarly journals What is Videogame Formalism? Exploring the Pillars of Russian Formalism for the Study of Videogames

2021 ◽  
pp. 155541202110274
Author(s):  
Jasper V. Vught
Keyword(s):  
Game Studies ◽  
Robust Approach ◽  
Russian Formalism ◽  
Historical Perspectives ◽  
Aesthetic Responses ◽  
Starting Point ◽  
Methodological Approaches ◽  
The Aesthetic ◽  
Functionalist Approach ◽  
Theoretical Foundations

This article provides a general overview of the theoretical foundations of formalism to assess their usefulness for the study of videogames and thereby establish grounds for a more robust approach. After determining that formalism has been used as a go-to term for a variety of ontological and methodological approaches in game studies, this article draws more specifically from Russian Formalism to use the label for a functionalist approach interested in how formal devices in videogames work to cue aesthetic responses. Through an exploration of three pillars of Russian Formalism, a videogame formalism emerges that focuses on the workings of the game as a machine while still taking the aesthetic player response as the methodological starting point and acknowledging the importance of synchronic and diachronic historical perspectives in establishing the functioning of game devices.

scholarly journals Musikalsk-estetisk erfaring som tilsynekomsthendelse

2020 ◽  
pp. 41-60
Author(s):  
Hanne Rinholm
Keyword(s):  
Aesthetic Experience ◽  
Musical Experience ◽  
Work Of Art ◽  
Late Modernity ◽  
The Status ◽  
The Subject ◽  
The Aesthetic

The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.

scholarly journals Fashion as an Aesthetic Form of Life

2021 ◽  
Vol 21 (61) ◽  
pp. 53-69
Author(s):  
Elena Abate
Keyword(s):  
Contact Point ◽  
Aesthetic Experiences ◽  
Form Of Life ◽  
Aesthetic Responses ◽  
Aesthetic Form ◽  
Aesthetic Practice ◽  
New Perspective ◽  
The Aesthetic

Fashion is an aesthetic practice that concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein’s later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of “form of life” with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a “form of life”. Specifically, I shall argue that fashion is an “aesthetics form of life” which structurally employs a language of an aesthetic type ––one with a specific grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identification/diversification typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a “form of life”, and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein’s aesthetic notions can coherently be related to fashion as well: concepts such as ‘aesthetic reaction’, ‘gesture’, and ‘correctness’ will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.

Making Sense of Silence

2017 ◽  
Author(s):  
Philip M. Gentry
Keyword(s):  
Cultural Identity ◽  
Gay Men ◽  
Historical Context ◽  
Musical Experience ◽  
Male Identity ◽  
Gay Male ◽  
Making Sense ◽  
The Aesthetic

The premiere of John Cage’s 4′33″ in 1952 is considered against the backdrop of McCarthyist persecution of gay men. Drawing upon the “aesthetic of indifference,” Cage’s work is situated within the postwar development of gay male identity, contrasting Cage with philosophical rivals such as his old friend Harry Hay and the queer anarchist writer Paul Goodman. The chapter also looks in detail at the origins of the premiere, making the case that later versions miss out on the work’s historic presence, especially its first score in which the silence was more strictly notated rather than left as an abstract context. Together, this historical context of an emergent gay cultural identity alongside a carefully crafted musical experience provides an excellent closing example of the possibilities of these new postwar tools of self-fashioning.

scholarly journals Structure of subjective experience of classical music

Psihologija ◽  
2018 ◽  
Vol 51 (4) ◽  
pp. 397-411
Author(s):  
Marko Zivanovic ◽  
Masa Vukcevic-Markovic ◽  
Blanka Bogunovic
Keyword(s):  
Subjective Experience ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Musical Experience ◽  
Second Phase ◽  
Affective Tone ◽  
Study Results ◽  
Two Phases ◽  
The Aesthetic

Previous studies on the subjective experience of music did not give unambiguous results related to the number and content of dimensions underlying the experience that one has in contact with various musical pieces. Furthermore, previous studies have provided no evidence relating to the structure of subjective experience of classical music pieces. The aim of this study was to determine the number of structurally distinct dimensions of the musical experience of classical music pieces and the relations among obtained dimensions. The research was conducted in two phases. In the first phase, 28 participants were asked to produce descriptions of their subjective experience of 44 short segments of music pieces. In the second phase, 44 participants rated the same set of musical pieces using a scale comprised of the most frequent descriptors obtained in the first phase of the study. Results have shown that musical experience descriptors are grouped into five interrelated dimensions of musical experience: the Aesthetic Experience, Affective Tone, Tension, Content?Fullness, and Structure. The paper discusses the nature of these dimensions, their relationship and compares them to those obtained in previous studies both related to the experience of music as well as art in other modalities.

scholarly journals Greenhouse Rose Yield and Ion Accumulation Responses to Salt Stress as Modulated by Rootstock Selection

HortScience ◽  
2009 ◽  
Vol 44 (7) ◽  
pp. 2000-2008 ◽  
Author(s):  
Raúl I. Cabrera ◽  
Alma R. Solís-Pérez ◽  
John J. Sloan
Keyword(s):  
Poor Quality ◽  
Ion Accumulation ◽  
Mineral Nutrient ◽  
Cut Flower ◽  
Aesthetic Responses ◽  
Specific Effects ◽  
Electrical Conductivities ◽  
The Aesthetic ◽  
Foliage Quality ◽  
Nutrient Solutions

Greenhouse rose (Rosa × spp. L.) production is facing the use of poor-quality irrigation waters and regulatory pressures to recycle runoff and drainage effluents. Two experiments (were conducted to evaluate the yield and quality and ion accumulation responses of roses grafted on various rootstocks to increasing salinity stress. In Expt. 1, the scion ‘Bridal White’ grafted on ‘Manetti’, R. odorata (Andr.), ‘Natal Briar’, and ‘Dr. Huey’ were irrigated over four flowering cycles with complete nutrient solutions supplemented with NaCl at 0, 5, and 30 mm. In Expt. 2, plants of ‘Red France’ on ‘Manetti’ and ‘Natal Briar’ were irrigated over six flowering cycles with complete nutrient solutions supplemented with NaCl + CaCl2 (2:1 m ratio) at 0, 1.5, 3, 6, 12, and 24 mm. Salt concentration increases significantly and negatively affected the biomass, cut flower production, and foliage quality of the roses in both experiments, but the responses were modulated by rootstock selection. ‘Manetti’ plants in general sustained better absolute and relative biomass and flower yields, accumulated less Na+ and Cl− in its tissues, and showed less toxicity symptoms with increasing salinity than the others. ‘Natal Briar’ also had similar absolute productivity responses as ‘Manetti’ but were afflicted by a significantly different mineral nutrient profile, including higher accumulations and toxicities with Na+ and Cl− that led to lower foliage visual ratings. Conversely, the relative yields of plants on ‘Dr. Huey’ and R. odorata were similarly reduced by increasing salinity, but the former had lower Na+ and Cl− concentrations in its tissues and better visual scores than the latter, which fared as the worst. A combined analysis of the results suggests that on a productivity basis (biomass and flower yields), greenhouse roses could withstand overall maximum electrical conductivities (i.e., osmotic effects) of applied fertigation solutions of 3.0 ± 0.5 dS·m−1. On the other hand, and considering the aesthetic responses (visual scores) of on-plant and harvested foliage (cut flower shoots), greenhouse rose tolerance to applied Na+ and Cl− concentrations (ion-specific effects) could range up to 10 ± 2 mm.

scholarly journals The Expression of Feeling in Imagination

2017 ◽  
Author(s):  
Richard Moran
Keyword(s):  
Final Section ◽  
Emotional Responses ◽  
States Of Affairs ◽  
Everyday Lives ◽  
Aesthetic Responses ◽  
Aesthetic Engagement ◽  
The Aesthetic ◽  
Emotional Resistance

The aesthetic engagement with fictions involves emotional responses of various kinds, and it is often urged that there is a paradox in the idea of emotions directed at what one knows to be a fictional situation or character. This paper examines some of the assumptions about imagination and emotion underlying the sense of paradox here, and critically examines Kendall Walton’s influential account of the problem in terms of his theory of make-believe. The paper argues that original paradox rests on a picture of the activity of imagination as restricted to the representation of states of affairs, and that this suggests an unreal discontinuity between our emotional aesthetic responses and our actual everyday lives. The final section discusses a problem from Hume concerning the phenomenon of moral and emotional resistance in imagination.

The Power of Paint

2017 ◽  
Author(s):  
Jennifer Van Horn
Keyword(s):  
Social Connections ◽  
Young Student ◽  
New Model ◽  
British Art ◽  
Aesthetic Responses ◽  
Benjamin West ◽  
Art Community ◽  
The Aesthetic ◽  
The City

Chapter 2 focuses on mid-century Philadelphia’s burgeoning art community through the figure of travelling English portrait painter John Wollaston, who visited the city in 1752 and 1758/9. Wollaston’s presence encouraged the young student Francis Hopkinson to write a poem about the artist in the new periodical the American Magazine. By tracing the aesthetic responses that Hopkinson and the fellow students in his circle (including Benjamin West) had to Wollaston’s portraits the chapter charts Philadelphians’ engagement with the aesthetic debates raging in London over the role of the artist and the power of the portrait to civilize. Hopkinson embraced the new model of connoisseurship being popularized in the British art capital of London but recast it to argue that the portrait could civilize the sitter. Reading Wollaston’s portraits through the model of physiognomy reveals how viewers understood his paintings to improve sitters’ civility and how his paintings forged social connections between sitters.

Sign in / Sign up

Export Citation Format

Share Document