Music and the Emotions: The Philosophical Theories

By Malcolm Budd | Go to book overview

VIII

MEANING, EMOTION AND INFORMATION IN MUSIC

1 A theory of musical understanding should lie at the heart of a theory of musical value. For just as an utterance can be understood, misunderstood or listened to with incomprehension, so can a musical work. And just as the listener lacks a proper basis for certain kinds of evaluation of the utterance if he hears it but does not understand it—in particular, he is not in a position to make his own estimate of the truth-value of the utterance—so the listener lacks a proper basis for certain kinds of evaluation of the musical work if he hears it but does not understand it—in particular, he is not in a position to make his own estimate of the musical value of the work. Moreover, although the listener can find the experience of a musical work intrinsically rewarding whether or not he understands the music, it is only when he hears and understands the work that the value of the music can be realised in his experience. For the musical value of a work is a function of the experience the listener has when he understands the work he hears: the listener can be aware in his experience of the value of the music as music only if he hears the music with understanding.

Now if music is something that can be understood, it must be possible for many people to share the correct understanding of a musical work. In particular, it must be possible for this understanding to be possessed both by the composer of a musical work and by a listener. For not only can a composer listen to a work he has composed and thereby assume the role of the listener, but he can consider his work from the point of view of the listener in the act of composition itself—he can imagine how his work will sound and he can intend that it should be heard in a certain manner. Hence, there is the possibility of musical communication. For a composer

-151-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Music and the Emotions: The Philosophical Theories
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Preface ix
  • I - The Emotions 1
  • II - The Repudiation of Emotion 16
  • III - Motion and Emotion in Music 37
  • IV - Sexual Emotion in Ideal Motion 52
  • V - The World as Embodied Music 76
  • VI - Music as Unconsummated Symbol 104
  • VII - Music as the Expression of Emotion 121
  • VIII - Meaning, Emotion and Information in Music 151
  • Summary Conclusion 175
  • Notes 177
  • Index 189
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 190

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.