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Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.
Leonard Meyer's Emotion and Meaning in Music [38] is the classic text in music expectation. [citation needed] Meyer's starting point is the belief that the experience of music (as a listener) is derived from one's emotions and feelings about the music, which themselves are a function of relationships within the music itself. Meyer writes that ...
Leonard B. Meyer, in Emotion and Meaning in Music (1956), distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same relationships ...
Nonetheless, these authors reported that minor chords activated an area of the brain involved in reward and emotion processing (the right striatum), while major chords induced significant activity ...
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [ 1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
Meyer (1956) applied Gestalt psychology principles to musical expectation, resulting in his ideas about completion, closure, and his Law of Good Continuation. In 1977, Narmour's book explicated problems he had with Schenkerian analysis and sketched ideas for a new model of analysis based on musical expectation as informed by the work of Meyer.
Philosophy of music is the study of "fundamental questions about the nature and value of music and our experience of it". [1] The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. The expression was born in the 19th century and has been used especially as the name of a discipline since ...
Simon Vouet, Saint Cecilia, c. 1626. Research into music and emotion seeks to understand the psychological relationship between human affect and music.The field, a branch of music psychology, covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical ...