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according to theories of musical aesthetics, music does
not represent specific, verbalizable emotions, such as pity or
fear (cooper and meyer, 1960; meyer, 1956). that is, music
represents the dynamic form of emotion, not the static nor
specific content of emotional life (dowling and harwood,
1986; helmholtz, 1863/1954; langer, 1951). this convey-
ing of emotion is the essence of musical semantics, and
depends on schemas and structure (meyer, 1956). almost
without exception, theories of musical meaning are, in fact,
theories of musical structure and its temporal coherence
(cooper and meyer, 1960; lerdahl and jackendoff, 1971,
1983; west et al., 1985). meaning itself, in a general sense,
has been defined as the coordination of schemas and struc-
ture (akmajian et al., 1990; bregman, 1977; hayakawa,
1939), the building of a consistent description based on
rules that define internal consistency. we believe that a
large body of evidence is now converging to suggest that
brodmann area 47 and the adjoining anterior insula con-
stitute a modality-independent brain area that organizes
structural units in the perceptual stream to create larger,
meaningful representation. that is, it may be part of a neural
network for perceptual organization, obeying the rules of
how objects in the distal world “go together” when they are
manifested as patterns unfolding in a structured way over
time.


google doc

Comments

( 1 comment — Leave a comment )
grashupfer
May. 16th, 2010 12:58 pm (UTC)
"Music is pure literature."
- Guillaume Apollinaire
( 1 comment — Leave a comment )

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