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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 ...
In philosophy, emotions are studied in sub-fields such as ethics, the philosophy of art (for example, sensory–emotional values, and matters of taste and sentimentality), and the philosophy of music (see also music and emotion).
December 30, 2007 (aged 89) New York City, New York, U.S. Education. Columbia University ( BA, MA) University of Chicago ( PhD) Leonard B. Meyer (January 12, 1918 – December 30, 2007) was a composer, author, and philosopher. He contributed major works in the fields of aesthetic theory in music, and of compositional analysis.
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 ...
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 ...
The doctrine of the affections, also known as the doctrine of affects, doctrine of the passions, theory of the affects, or by the German term Affektenlehre (after the German Affekt; plural Affekte) was a theory in the aesthetics of painting, music, and theatre, widely used in the Baroque era (1600–1750). [ 1][ 2] Literary theorists of that ...
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.
Music has been shown to consistently elicit emotional responses in its listeners, and this relationship between human affect and music has been studied in depth. [3] This includes isolating which specific features of a musical work or performance convey or elicit certain reactions, the nature of the reactions themselves, and how characteristics ...