By Malcolm Budd
The main basic debate within the philosophy of song contains the query of no matter if there's an artistically very important connection among tune and the feelings. Many theories of the character and value of track as an paintings shape have maintained that no less than one vital price of song is its potential to symbolize, convey, speak, or represent numerous extra-musical feelings or a undeniable element of emotion. but those theories are rejected by way of those that think that the price of any musical paintings is particularly musical, and as a result needs to be self reliant of any dating among track and the emotions.
Now in paper, tune and the feelings provides and seriously examines the executive theories in regards to the courting among song and the sentiments. those theories comprise these of Eduard Hanslick, Edmund Gurney, Carroll Pratt, Arthur Schopenhauer, Susanne Langer and Leonard Meyer.
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Extra info for Music and the emotions: the philosophical theories
Hanslick does not give a clear answer to this question, but he refers to the strength of the feeling, and the manner of its development. 5 In fact, he asserts that a feeling always involves satisfaction or discomfort. 6 Perhaps he would have accepted the view we have already discussed in the case of emotions that definite feelings or emotions involve desires or aversions, or pleasure or pain, as joy involves pleasure at the attainment of something one desires, shame distress at something one regards as a defect, and envy wanting 21 The repudiation of emotion something that another possesses; so that if we subtract the idea of what is desired, or what is found distressing, or that in which pleasure is taken, all that remains is ‘a general feeling of satisfaction or discomfort’.
Of course, his claim is not that it is literally true of two sounds of different pitch that one is higher than the other in the sense that it comes from a higher position in space. His view is more nearly that it is literally true that one of the tones seems to come—it is heard as if it were coming—from a higher position in space: it is phenomenologically higher in space. But it is clearly not unrestrictedly true that ‘high tones are phenomenologically higher in space than low ones’.
Hanslick’s anxiety to repudiate the role commonly assigned to the emotions in the experience of music leads him to construe the experience as essentially one consisting in the passionless contemplation of the various ‘purely musical’ features of the music, which contemplation may yield pleasure, although this is not essential to the recognition of the beauty of the music. Now if someone were to insist against this that the experience of music may properly, and directly, be an emotional one, he would not be denying that the experience may be pleasurable.