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e-Book The Musical Representation: Meaning, Ontology, and Emotion (MIT Press) download

e-Book The Musical Representation: Meaning, Ontology, and Emotion (MIT Press) download

by Charles O. Nussbaum

ISBN: 0262140969
ISBN13: 978-0262140966
Language: English
Publisher: A Bradford Book; 1 edition (November 2, 2007)
Pages: 400
Category: Music
Subategory: Photography

ePub size: 1822 kb
Fb2 size: 1991 kb
DJVU size: 1401 kb
Rating: 4.3
Votes: 688
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This book is devoted to an emotion-shame-and to the consideration of its. meaning and ascribed values. Specifically, the authors argue against two common.

This book is devoted to an emotion-shame-and to the consideration of its. dogmas about shame, an emotion historically labelled as ‘negative’: (1) The social. nature of shame, something they call ‘‘shame socialism,’’ and (2) The morally. dubious character of shame, considered generally as ‘‘the ugly emotion.

Meaning, Ontology, and Emotion. Charles O. Nussbaum 2007. A naturalistic philosophical theory of musical representation that argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. How human musical experience emerges from the audition of organized tones is a riddle of long standing.

The Musical Representation. Meaning, Ontology, and Emotion. By Charles O. Nussbaum. Charles Nussbaum has given us an extraordinarily rich book, which uses the tools of analytic philosophy and the resources of cognitive science to explore the delightful mystery that is human musical experience.

The Musical Representation : Meaning, Ontology, and Emotion. By (author) Charles O. Those with an interest in aesthetics, in connections between cognitive science and the humanities, and in the tradition of instrumental music that stretches from Mozart and Beethoven through Mahler and Shostakovich will find this compelling reading.

In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character.

The Musical Representation book. Hardcover, 388 pages. Published December 1st 2007 by MIT Press (MA) (first published January 30th 2007). In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. The Musical Representation: Meaning, Ontology, and Emotion (Bradford Books).

Vallverdú, J. Nussbaum: The Musical ng, Ontology, and Emotion

1. Minds and Machines volume 23, pages515–517(2013)Cite this article. Vallverdú, J. Nussbaum: The Musical ng, Ontology, and Emotion. Minds & Machines 23, 515–517 (2013) doi:10.

In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution

In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals.

The Musical Representation: Meaning, Ontology, and Emotion. Published: March 06, 2009. The internal representations employed in recovering the musical structure from the musical surface specify motor hierarchies and action plans, which in turn put the listener's body into off-line motor states that specify virtual movements through a virtual terrain or a scenario possessing certain features. On the basis of the "action plan" of a particular piece of music, listeners construct a third type of representation, a musical mental model that represents "the features of the layouts and scenarios in which these virtual movements occur" (82).

How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition.

Comments:
Jare
Attempting to read this book is like wading through a swamp at midnight. The author uses words that even Bill Buckley would need to look up in his Funk & Wagnall's. Each time I tried to read the chapter on musical emotion, I ended up with a headache. Not a book for beginners!

Perius
This book is a thorough and rigorous philosophical treatment of musical representation. If you're not the sort of person who loves to talk about ontology, metaphysics, and epistemology, then this book is likely not for you. On the other hand, if you're a die-hard naturalist and/or a humanities empiricist, this book is as enlightening and insightful as any you'll encounter about music, emotion, and meaning.

Highly recommended, though not for novices.

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