Includes bibliographical references (pages 158-160) and index.
CONTENTS NOTE
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Introduction -- -- Chapter 1: Contour and convention -- Contour -- Convention -- Do we 'animate' musical gestures? -- -- Chapter 2: Musics's arousal of emotion -- Why Hanslick is wrong -- Music's arousal of emotion -- -- Chapter 4: The advantages of the new arousalist position -- Conclusion -- -- Chapter 5: Emotion, judgement and desire -- Why the standard judgementalist view of emotion is untenable -- Desire and intentional feeling -- Why not all reason-providing desire have an affective dimension -- What is the exact role of intentional feeling? -- -- Chapter 6: Pleasure and emotion -- The threat of Hedonism -- Hedonistic pleasure and our experience of music pleasure as a mode of attention -- A resolution of the conflicting positions -- The analysis of pleasure and music's expression of emotion -- The indispensability of the notion of intentinal feeling -- Reason-following desire, and taking pleasure in what has objective value -- -- Chapter 7: The nature of emotion -- The relation between the affective and the intentional components of emotion -- The nature of emotion and music's expression of emotion -- -- Chapter 8: Music's expression of emotion -- Emotions in musical and in non-musical contexts -- Hanslick Again -- Are there any emotions that music cannot express? -- Some remaining difficulties -- -- Chapter 9: Retrospect.
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SUMMARY OR ABSTRACT
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Philosophy, Music and Emotion explores two issues which have been intensively debated in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two topics are related and provides a radically new account of what it means to say that music 'expresses emotion'.
SYSTEM REQUIREMENTS NOTE (ELECTRONIC RESOURCES)
Text of Note
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.