Search results
1 lip 2015 · Although several lines of research point to commonalities, and possibly a shared syntactic component, differences between “language syntax” and “music syntax” can also be found at several levels: conveyed meaning, and the atoms of combination, for example.
1 sty 2012 · This conception focuses on the capacity of music to resonate with psychological processes that function in human synchronization, and to elicit emotional effects related to these processes.
5 wrz 2013 · Throughout history, music has been regarded as expressive of motion, tension, human characters, identity, beauty, religious faith, and social conditions. However, the most common hypothesis is arguably that listeners perceive music as expressive of emotions (for a review, see Gabrielsson and Juslin, 2003).
2 paź 2014 · This chapter provides a review of psychological studies of expression and communication of emotions in the performance of music. First, we provide working definitions of key concepts, and consider how performers may conceive of these issues.
11 lip 2013 · In this chapter we primarily address the issue of emotion induction, explore how music produces emotions in listeners, and identify the major factors or determinants involved. In addressing these issues we first have to clarify what exactly an emotion is, as this is by no means universally agreed.
This chapter applies science to unravel the seemingly indefinable elements of nuance, expression, and interpretation in music. Nuance is first defined as a subset of expression and is the manipulation of sound parameters to create music that sounds alive rather than flat and mechanical.
31 mar 2016 · Music and cognition refers to the study of musical thinking. In basic terms, it seeks to understand the mental processes involved in listening to, creating, and performing music. Musical thinking is, however, a vast, complex issue that also implicates memory, emotion, language, culture, and the thinking body.
