The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

In this paper, I address the question of how emotional qualities can be attributed to musical timbre, an acoustic feature that has proven challenging to explain using traditional accounts of musical emotions. I begin presenting the notion of musical expressiveness, as it has been conceived by cognitivists to account for the emotional quality of various musical elements like melody and rhythm. However, I also point out some limitations in these accounts, which hinder their ability to fully elucidate the emotional expressiveness (...) of timbre, especially when considering it as a result of non-cognitively mediated processes. Consequently, I explore the link between timbre and atmosphere by reviewing anecdotal sources that have characterized timbre in terms of atmosphere. The goal here is to determine if these characterizations should be seen as merely allusive and metaphoric expressions or if they genuinely reveal essential properties of timbre. To achieve this goal, I delve deeper into the notion of atmosphere, and I show that it shares several key traits with the notion of musical emotions as conceived in the cognitivist’s account. Both musical emotions and atmospheres are affectively charged externalities that are apprehended by the subject without cognitive mediation. Drawing from this insight, I conclude that the notion of atmosphere can serve as a valuable tool in explaining the emotional expressivity of timbre without invoking the resemblance-based mechanisms often found in cognitive accounts of expressiveness. (shrink)

[straipsnis ir santrauka lietuvių kalba; santrauka anglų kalba] Šiame straipsnyje ginama tezė, kad grynoji muzika nereprezentuoja emocijų, bet jas metaforiškai egzemplifikuoja. Tezė grindžiama remiantis N. Goodmano metaforinės emocijų egzemplifikacijos samprata, kurią M. Textoras papildo intencijos kriterijumi (egzemplifikuojama tik tai, ką turima intencija egzemplifikuoti). Straipsnis sudarytas iš dviejų dalių: pirmojoje pateikiama emocijų atpažinimo ir sužadinimo klausantis muzikos analizė. Antrojoje dalyje siekiama pagrįsti, kad emocijų metaforinė egzemplifikacija muzikoje laikytina P. Grice’o nenatūralios prasmės rūšimi, o priėmus šią prielaidą galima apginti metaforinės egzemplifikacijos sampratą (...) nuo pagrindinių kontrargumentų. (shrink)