Switch to: References

Add citations

You must login to add citations.
  1. Enacting musical emotions. sense-making, dynamic systems, and the embodied mind.Andrea Schiavio, Dylan van der Schyff, Julian Cespedes-Guevara & Mark Reybrouck - 2017 - Phenomenology and the Cognitive Sciences 16 (5):785-809.
    The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...)
    Download  
     
    Export citation  
     
    Bookmark   23 citations  
  • Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech.Matthew Poon & Michael Schutz - 2015 - Frontiers in Psychology 6.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Thrills, chills, frissons, and skin orgasms: toward an integrative model of transcendent psychophysiological experiences in music.Luke Harrison & Psyche Loui - 2014 - Frontiers in Psychology 5.
    Download  
     
    Export citation  
     
    Bookmark   20 citations  
  • Affordances and the musically extended mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
    Download  
     
    Export citation  
     
    Bookmark   78 citations  
  • Current Emotion Research in Music Psychology.Swathi Swaminathan & E. Glenn Schellenberg - 2015 - Emotion Review 7 (2):189-197.
    Music is universal at least partly because it expresses emotion and regulates affect. Associations between music and emotion have been examined regularly by music psychologists. Here, we review recent findings in three areas: (a) the communication and perception of emotion in music, (b) the emotional consequences of music listening, and (c) predictors of music preferences.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Where Philosophical Intuitions Come From.Helen De Cruz - 2015 - Australasian Journal of Philosophy 93 (2):233-249.
    Little is known about the aetiology of philosophical intuitions, in spite of their central role in analytic philosophy. This paper provides a psychological account of the intuitions that underlie philosophical practice, with a focus on intuitions that underlie the method of cases. I argue that many philosophical intuitions originate from spontaneous, early-developing, cognitive processes that also play a role in other cognitive domains. Additionally, they have a skilled, practiced, component. Philosophers are expert elicitors of intuitions in the dialectical context of (...)
    Download  
     
    Export citation  
     
    Bookmark   29 citations  
  • Cross-cultural similarities and differences.William Forde Thompson & Balkwill & Laura-Lee - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
    Download  
     
    Export citation  
     
    Bookmark  
  • Gretchenfragen an den Naturalisten.Gerhard Vollmer - 2012 - Philosophia Naturalis 49 (2):239-291.
    A philosophical position may be characterized in different ways. Here we try to say how the naturalist answers certain . The questions come from very different areas; the spectrum of subjects is therefore quite mixed. There are, however, aspects of order: We start with (questions about) abstract subjects like logic, mathematics, metaphysics, then turn to problems of realism. And since in general naturalists are realists, the following questions on truth, laws of nature, origin of the universe, cosmology, evolution, body-mind-problem, freedom (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Music Perception and Cognition: A Review of Recent Cross‐Cultural Research. [REVIEW]Catherine J. Stevens - 2012 - Topics in Cognitive Science 4 (4):653-667.
    Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via (...)
    Download  
     
    Export citation  
     
    Bookmark   12 citations  
  • Modeling Listeners' Emotional Response to Music.Tuomas Eerola - 2012 - Topics in Cognitive Science 4 (4):607-624.
    An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • (1 other version)Music, neuroscience, and the psychology of wellbeing: A précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Empathy, enaction, and shared musical experience.Joel Krueger - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press. pp. 177-196.
    Download  
     
    Export citation  
     
    Bookmark   16 citations  
  • Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • (1 other version)Emotional responses to music: The need to consider underlying mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...)
    Download  
     
    Export citation  
     
    Bookmark   119 citations  
  • From The Firebird to The Rite of Spring: Meter and Alignment in Stravinsky’s Russian-Period Works.Pieter van den Toorn - 2013 - Avant: Trends in Interdisciplinary Studies 4 (3).
    Addressed here is the psychological complexity of meter, notated and heard, in The Firebird and Part II of The Rite of Spring. Of concern from the standpoint of the listener are the competing forces of meter, displacement, and parallelism; how these forces take precedence, with melody and harmony falling into place accordingly. Duly supplanted is the motivicism of the Classical style, as Theodor Adorno observed some time ago. Also of consequence here are octatonic harmony and the strict performance style favored (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Aesthetic Negativity and Aisthetic Traits.Jonathan Owen Clark - 2015 - Critical Horizons 16 (1):52-69.
    This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate ‘‘automatic’’ modes of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Selective debunking arguments, folk psychology, and empirical psychology.Daniel Kelly - 2014 - In Hagop Sarkissian & Jennifer Cole Wright (eds.), Advances in Experimental Moral Psychology. New York: Bloomsbury Academic. pp. 130-147.
    Rather than set out an overarching view or take a stand on the debunking of morality tout court, in what follows I’ll explore a divide and conquer strategy. First, I will briefly sketch a debunking argument that, instead of targeting all of morality or human moral nature, has a more narrow focus—namely, the intuitive moral authority of disgust. The argument concludes that as vivid and compelling as they can be while one is in their grip, feelings of disgust should be (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • Promethean and Posthuman Freedom: Brassier on Improvisation and Time.David Roden - 2019 - Performance Philosophy 4 (2):510-527.
    Ray Brassier's "Unfree Improvisation/Compulsive Freedom" is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour. Brassier does not provide a detailed account of how self-determination (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Tuning the mind: Exploring the connections between musical ability and executive functions.L. Robert Slevc, Nicholas S. Davey, Martin Buschkuehl & Susanne M. Jaeggi - 2016 - Cognition 152:199-211.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • The Aesthetic and Cognitive Value of Surprise.Alexandre Declos - 2014 - Proceedings of the European Society for Aesthetics 6:52-69.
    It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Prolegomena to Music Semantics.Philippe Schlenker - 2019 - Review of Philosophy and Psychology 10 (1):35-111.
    We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music semantics is that (...)
    Download  
     
    Export citation  
     
    Bookmark   13 citations  
  • “The Two Brothers”: Reconciling Perceptual-Cognitive and Statistical Models of Musical Evolution.Steven Jan - 2018 - Frontiers in Psychology 9.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Tonal Qualia and the Evolution of Music.Piotr Podlipniak - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):33-44.
    The communicative phenomena of tonal music and speech observed in all human societies differ qualitatively from other human sound expressions. This difference consists mainly of the fact that both tonal music and speech are generative, i.e., they are composed of a limited number of discrete, perceptual units organized according to some tacit rules. In the case of tonal music, these units are experienced as pitch classes ordered in time. Listening to tonally organized pitch classes leads to the experience of specific (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • The Shivers of Knowledge.Félix Schoeller - 2015 - Human and Social Studies 4 (3):26-41.
    Aesthetic chills occur in artistic, scientific and religious context. We introduce a theoretical framework relating them to humans’ vital need for cognition. We discuss the implications of such a framework and the plausibility of our hypothesis. Numerous references to chills are introduced.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • The surprising thing about musical surprise.Jenny Judge - 2018 - Analysis 78 (2):225-234.
    The experience of musical surprise is explained by psychologists in terms of the thwarting of prior musical expectations. The assumption that surprise is always caused by expectations is widespread not just in psychology at large, but also in philosophy. I argue here that this assumption is ill-founded. Many musical surprises, as well as many non-musical instances of perceptual surprise, can be explained by the falsification of assessments of the present, rendering the appeal to expectations unnecessary. I elaborate the positive view (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • Creating Time: Social Collaboration in Music Improvisation.Ashley E. Walton, Auriel Washburn, Peter Langland-Hassan, Anthony Chemero, Heidi Kloos & Michael J. Richardson - 2018 - Topics in Cognitive Science 10 (1):95-119.
    Musical improvisation is a natural case of human pattern formation, and Walton and colleagues investigate the way that different contextual constraints affect patterns of improvisation and their aesthetic quality. The authors find that coordination patterns are more diversified between two musicians when the musical space in which to improvise is relatively more constrained. They also find that listeners experience more diversified, complementary patterns between musicians as more enjoyable and harmonious.
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • The Future of Musical Emotions.Dylan van der Schyff & Andrea Schiavio - 2017 - Frontiers in Psychology 8.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Listening to the Shepard-Risset Glissando: the Relationship between Emotional Response, Disruption of Equilibrium, and Personality.Eveline Vernooij, Angelo Orcalli, Franco Fabbro & Cristiano Crescentini - 2016 - Frontiers in Psychology 7.
    Download  
     
    Export citation  
     
    Bookmark  
  • Against Nature? or, Confessions of a Darwinian Modernist.Murray Smith - 2014 - Royal Institute of Philosophy Supplement 75:151-182.
    A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion of Klangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas about Klangfarbenmelodie (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Two Challenges in Cognitive Musicology.David Huron - 2012 - Topics in Cognitive Science 4 (4):678-684.
    Two themes in music cognition research are highlighted—inspired by the contributions in this volume: (a) statistical learning and (b) evolutionary theorizing. Our ability to test alternatives to statistical learning is threatened by the rapidly diminishing opportunities for cross‐cultural studies unconfounded by bimusicalism. Our ability to infer possible evolutionary origins for music is confounded by the “hedonic plenitude” of modern music‐making—where multiple pleasure channels are activated simultaneously. Cognitively inspired music research will benefit by studying a wider range of musical cultures. Evolutionary (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Music Cognition and the Cognitive Sciences.Marcus Pearce & Martin Rohrmeier - 2012 - Topics in Cognitive Science 4 (4):468-484.
    Why should music be of interest to cognitive scientists, and what role does it play in human cognition? We review three factors that make music an important topic for cognitive scientific research. First, music is a universal human trait fulfilling crucial roles in everyday life. Second, music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering music an ideal object for studying the (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Are we predictive engines? Perils, prospects, and the puzzle of the porous perceiver.Andy Clark - 2013 - Behavioral and Brain Sciences 36 (3):233-253.
    The target article sketched and explored a mechanism (action-oriented predictive processing) most plausibly associated with core forms of cortical processing. In assessing the attractions and pitfalls of the proposal we should keep that element distinct from larger, though interlocking, issues concerning the nature of adaptive organization in general.
    Download  
     
    Export citation  
     
    Bookmark   41 citations  
  • Vague Music.Roy Sorensen - 2011 - Philosophy 86 (2):231-248.
    Is listening to music like looking through a kaleidoscope? Formalists contend that music is meaningless. Most music theorists concede that this austere thesis is surprisingly close to the truth. Nevertheless, they refute formalism with a little band of diffusely referential phenomena, such as musical quotation, onomatopoeia, exemplification, and leitmotifs. These curiosities ought to be pressed into a new campaign against assumptions that vagueness can only arise in the semantically lush setting of language. Just as the discovery of extremophilic bacteria led (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Learning and Liking of Melody and Harmony: Further Studies in Artificial Grammar Learning.Psyche Loui - 2012 - Topics in Cognitive Science 4 (4):554-567.
    Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...)
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Anticipation is the key to understanding music and the effects of music on emotion.Peter Vuust & Chris D. Frith - 2008 - Behavioral and Brain Sciences 31 (5):599-600.
    There is certainly a need for a framework to guide the study of the physiological mechanisms underlying the experience of music and the emotions that music evokes. However, this framework should be organised hierarchically, with musical anticipation as its fundamental mechanism.
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • Phrase-Level Modeling of Expression in Violin Performances.Fábio J. M. Ortega, Sergio I. Giraldo, Alfonso Perez & Rafael Ramírez - 2019 - Frontiers in Psychology 10.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Getting the Joke: Insight during Humor Comprehension – Evidence from an fMRI Study.Fang Tian, Yuling Hou, Wenfeng Zhu, Arne Dietrich, Qinglin Zhang, Wenjing Yang, Qunlin Chen, Jiangzhou Sun, Qiu Jiang & Guikang Cao - 2017 - Frontiers in Psychology 8.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Music and literature: are there shared empathy and predictive mechanisms underlying their affective impact?Diana Omigie - 2015 - Frontiers in Psychology 6.
    Download  
     
    Export citation  
     
    Bookmark  
  • The sounds of safety: stress and danger in music perception.Thomas Schäfer, David Huron, Daniel Shanahan & Peter Sedlmeier - 2015 - Frontiers in Psychology 6.
    As with any sensory input, music might be expected to incorporate the processing of information about the safety of the environment. Little research has been done on how such processing has evolved and how different kinds of sounds may affect the experience of certain environments. In this article, we investigate if music, as a form of auditory information, can trigger the experience of safety. We hypothesized that there should be an optimal, subjectively preferred degree of information density of musical sounds, (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Predictive uncertainty in auditory sequence processing.Niels Chr Hansen & Marcus T. Pearce - 2014 - Frontiers in Psychology 5:88945.
    Previous studies of auditory expectation have focused on the expectedness perceived by listeners retrospectively in response to events. In contrast, this research examines predictive uncertainty —a property of listeners' prospective state of expectation prior to the onset of an event. We examine the information-theoretic concept of Shannon entropy as a model of predictive uncertainty in music cognition. This is motivated by the Statistical Learning Hypothesis, which proposes that schematic expectations reflect probabilistic relationships between sensory events learned implicitly through exposure. Using (...)
    Download  
     
    Export citation  
     
    Bookmark   15 citations  
  • What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it.Guy Madison & George Sioros - 2014 - Frontiers in Psychology 5.
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  • Public Space Users’ Soundscape Evaluations in Relation to Their Activities. An Amsterdam-Based Study.Edda Bild, Karin Pfeffer, Matt Coler, Ori Rubin & Luca Bertolini - 2018 - Frontiers in Psychology 9.
    Download  
     
    Export citation  
     
    Bookmark  
  • Improvisation Unfolding: Process, Pattern, and Prediction.Marc Duby - 2018 - World Futures 74 (3):187-198.
    The main aim of this article is to argue the case for understanding improvising as a real-time emergent process grounded in collaborative action, while noting that talking about improvisation, bluntly put, is not the same as improvising. The ways in which improvisers respond and adapt to changing circumstances in the moment and over time, it is argued, connect directly to the discipline of process philosophy and involve pattern recognition and creation skills as well as the ability to predict the actions (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Music evokes vicarious emotions in listeners.Ai Kawakami, Kiyoshi Furukawa & Kazuo Okanoya - 2014 - Frontiers in Psychology 5.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Audio-visual integration of emotional cues in song.William Forde Thompson, Frank A. Russo & Lena Quinto - 2008 - Cognition and Emotion 22 (8):1457-1470.
    We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while performing a secondary (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • Toward a Poetics of Cinematic Disgust.Julian Hanich - 2011 - Film-Philosophy 15 (2):11-35.
    This essay tries to categorize the range of artistic options that filmmakers currently have at hand to evoke bodily disgust. It asks: If we examine the variety of disgusting scenes at the movies, how can we usefully distinguish them? I present five categorical distinctions indicating choices filmmakers often implicitly make when disgust comes into play. (1) Temporality: Does the filmmaker confront us with the disgusting object suddenly or anticipatorily ? (2) Presence: Does the director allow us to perceive or imagine (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Review of Oliver Sacks. Musicophilia: Tales of Music and the Brain 1. [REVIEW]Elizabeth Hellmuth Margulis - 2009 - American Journal of Bioethics 9 (9):70-71.
    Download  
     
    Export citation  
     
    Bookmark  
  • Suppressing the Chills: Effects of Musical Manipulation on the Chills Response.Scott Bannister & Tuomas Eerola - 2018 - Frontiers in Psychology 9:412115.
    Research on musical chills has linked the response to multiple musical features; however, there exists no study that has attempted to manipulate musical stimuli to enable causal inferences, meaning current understanding is based mainly on correlational evidence. In the current study, participants who regularly experience chills ( N = 24) listened to an original and manipulated version of three pieces reported to elicit chills in a previous survey. Predefined chills sections were removed to create manipulated conditions. The effects of these (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • A Joint Prosodic Origin of Language and Music.Steven Brown - 2017 - Frontiers in Psychology 8:288686.
    Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective and intonational (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations