The Psychology of Music: A Survey for Teacher and Musician

By Max Schoen | Go to book overview

CHAPTER 7
THE AESTHETIC EXPERIENCE IN MUSIC

IN THE PRECEDING CHAPTER WE HAVE seen that individuals differ significantly in what music means to them and in what they get out of it. The classification of these differences into types of musical responses at once raises the question as to their relative aesthetic values, whether any one type can be said to constitute the musical response more so than any one or all of the other types, and the basis of the differences, whether they are due primarily to some factors of native endowment or arise mainly as a result of training and experience. On this problem we have some views from writers on musical aesthetics and some data from experimental investigations.


THE VIEWS OF AESTHETICIANS

The two outstanding works on the aesthetic phase of music versus its technical and scientific side are Hanslick The Beautiful in Music and Gurney The Power of Sound.

Hanslick is concerned entirely with combating the widespread notion that the significance of music lies in its power for emotional expression. This he calls a false assumption which has misled musical aesthetics into describing the feelings which music arouses instead of inquiring into what is beautiful in music. The task of aesthetic investigation, he holds, must be the beautiful object, and not the perceiving subject. And he complains that, apparently, it is only in music that this objective approach is lacking, so that the emotions are still as much as ever viewed as the only aesthetic foundation of music and looked upon as defining its scope and function.

The view that the aim and object of music is to arouse pleasurable emotions, or that emotions are the subject-matter which musical works are intended to express or convey, Hans

-127-

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.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

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
The Psychology of Music: A Survey for Teacher and Musician
Table of contents

Table of contents

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?

Help
Full screen
/ 264

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access 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

    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.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.