Emotions and Understanding in Music

Idealistic Studies 44 (1):83-100 (2014)
  Copy   BIBTEX

Abstract

The aim of this paper is to sketch a theory of musical experience which takes the empirical research seriously without abandoning or neglecting music’s transcendental features. The tension between the recent empirical approach, as represented particularly by Huron’s ITPRA theory, and the transcendental fact that music as an instance of art is something one can understand and, moreover, can understand oneself through, should be overcome by elaborating on the concept of emotion and the role it can play in musical understanding. This will be done against the narrower background of the pragmatists’ theories of meaning, as represented by the semantic work of Meyer and Brandom, and their broader link to the philosophy of Hegel and the great systems of German idealism.

Other Versions

No versions found

Links

PhilArchive

    This entry is not archived by us. If you are the author and have permission from the publisher, we recommend that you archive it. Many publishers automatically grant permission to authors to archive pre-prints. By uploading a copy of your work, you will enable us to better index it, making it easier to find.

    Upload a copy of this work     Papers currently archived: 103,836

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2015-02-11

Downloads
55 (#423,716)

6 months
13 (#241,993)

Historical graph of downloads
How can I increase my downloads?

References found in this work

No references found.

Add more references