Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

This study explored a dimensional approach to vocal expression of emotion. Actors vocally portrayed emotions (anger, disgust, fear, happiness, sadness) with weak and strong emotion intensity. Listeners (30 university students and 6 speech experts) rated each portrayal on four emotion dimensions (activation, valence, potency, emotion intensity). The portrayals were also acoustically analysed with respect to 20 vocal cues (e.g., speech rate, voice intensity, fundamental frequency, spectral energy distribution). The results showed that: (a) there were distinct patterns of ratings of activation, (...) valence, and potency for the different emotions; (b) all four emotion dimensions were correlated with several vocal cues; (c) listeners' ratings could be successfully predicted from the vocal cues for all dimensions except valence; and (d) the intensity dimension was positively correlated with the activation dimension in the listeners' ratings. (shrink)