The Listener

Practically speaking, listening is the primary reason music exists at all. Providing a meaningful sonic experience for others is largely the reason that composers work so hard on their creations and performers enter the stage or recording studio. Human beings’ love of music can be seen in common music listening is in everyday life today. In this respect, it may seem strange to consider “the listener” as a musical role, let alone to regard music listening as a skill that people develop, even to specialized expert levels. Be that as it may, listening is an extremely important topic in the psychology of music. Many people would never consider themselves “musicians” still enthusiastically fill the role of serious listeners. This chapter offers in depth consideration of music listening, beginning with an examination of the processes of human hearing. It addresses the multiple types of listening in which people engage, from hearing music in the background while doing other things to focused listening for the purpose analyzing or evaluating the music heard. Special emphasis is given to music’s capacity to evoke strong emotions in music, sometimes to the point of physiological responses such as tears, shivers, and a racing heart.

Investigating Musical Emotions in People with Unilateral Brain Damage

The study under discussion sought to investigate the hemispheric laterality of musical emotions: Is one hemisphere of the brain preferentially involved in recognizing emotions in music? The authors took a neuropsychological approach to answer this question by studying emotional judgments of music in people with brain damage to either hemisphere. Their results indicated that individuals with left hemisphere damage were significantly impaired in recognizing musical emotions as compared to healthy comparison participants. In contrast, individuals with right hemisphere damage were not impaired at identifying emotions in music, but rated the perceived intensity of the emotions lower for sadness and fear (as compared to joy and serenity). Their work suggests that the identification of emotions in music and the perceived intensity of the emotions expressed may rely on different hemispheres of the brain.

Music with and Without Images

Ji Kang’s 嵇康 argument against the presence of emotions in music in “Sound Has Neither Sorrow nor Joy” (sheng wu ai le lun 聲無哀 樂論) relies centrally on his claim that harmonious sounds are “without image” (wu xiang 無象). In contrast, the Ru 儒(Confucian) view of music is that it transmits images and emotions between musicians and listeners, which provides the basis for the musical cultivation of virtue (de 德). In this paper, I provide a reading of Ji Kang’s argument that elucidates key differences between music with and without images, and offer an analysis of these differences in terms of intransitive musical meaning.