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Why Music Moves Us (Englisch) Gebundene Ausgabe – 8. April 2009

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  • Gebundene Ausgabe: 184 Seiten
  • Verlag: Palgrave Macmillan (8. April 2009)
  • Sprache: Englisch
  • ISBN-10: 0230209890
  • ISBN-13: 978-0230209893
  • Größe und/oder Gewicht: 13,5 x 2 x 20,6 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 2.647.251 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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'Combining philosophy, psychology, and music history, Why Music Moves Us is a remarkable multidisciplinary achievement. Bicknell offers a fresh take on the emotional power of music by exploring a neglected but vital element of the Romantic aesthetic: the musical sublime' - Theodore Gracyk, author of Rhythm and Noise and Listening to Popular Music 'For Bicknell, who fully understands music's ability to arouse and represent emotions, music is of moral benefit in educating them' - Times Literary Supplement '...a more collaborative approach to understanding music...' British Journal of Asthetics


This highly readable, original and philosophically important book uses philosophy, psychology, neuroscience and anthropology to explore why music has such extraordinary power to move listeners. This is an entertaining and fascinating exploration on the emotional power of music that draws on studies in philosophy, psychology, neuroscience and anthropology. It makes philosophy of music accessible and enjoyable by using examples from "The Odyssey" to the "Opera", from "Beethoven" to "The Rolling Stones".This book offers a fresh take on a timeless topic centring on the romantic idea of 'the sublime'. Music has extraordinary power to move us, but how and why does it affect us? What is going on, emotionally, physically and cognitively when listeners have strong emotional responses to music? This is a highly readable, original and philosophically important book for anyone who has ever been moved by music.

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Von Bernd Willimek am 26. Dezember 2013
Format: Taschenbuch
The most difficult problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can't convey any emotion at all, but merely volitional processes, the music listener identifies with. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.

An example: If you perceive a major chord, you normally identify with the will "Yes, I want to...". If you perceive a minor chord, you identify normally with the will "I don't want any more...". If you play the minor chord softly, you connect the will "I don't want any more..." with a feeling of sadness. If you play the minor chord loudly, you connect the same will with a feeling of rage. You distinguish in the same way as you would distinguish, if someone would say the words "I don't want anymore..." the first time softly and the second time loudly.
Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.

But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called "lead", "leading tone" or "striving effects".
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3 von 3 Kunden fanden die folgende Rezension hilfreich
Intriguing 21. Juli 2010
Von Steve Schwartz - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
A professional philosopher tackles a thorny question that has probably occurred to almost every music lover. The deceptively simple title hides a field of land mines. Many a really fine mind has hit them. Bicknell gives a whirlwind tour of thoughts on the subject from the ancient Greeks to the present and, unusual for a philosopher, draws on many disciplines other than her own. She also draws on a wide range of music, classical and pop. However, her relative unfamiliarity with the span of classical music often lets her fall into sloppy speech, simply because she hasn't heard enough. Nevertheless, her lapses are few. For this kind of text, she writes clearly (at least you're not reading Kierkegaard or Kant), but be aware that this is indeed philosophy. The thought is pretty dense. I managed about ten minutes a shot (3 minutes a page) before I had to put the book down for a while and digest. All this is just to say that it won't read as quickly as a Robert Parker. Still, it's a slim book of a little more than 150 pages, and Bicknell illumines many dark corners. She herself admits that her conclusions are provisional, but even her thoughts along the way grip you. I particularly liked her notions of the "social" nature of music and of music as a "cognitive object" as well as a mood-alterer. I wouldn't call this an easy read, but I did enjoy it quite a bit.
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