Feeling the musical emotions

British Journal of Aesthetics

Volumn 39, Issue 1, 1999, Pages 1-13

  Kivy, Peter ^a  

^a RUTGERS UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 42049120325     PISSN: 00070904     EISSN: None     Source Type: Journal    
DOI: 10.1093/bjaesthetics/39.1.1     Document Type: Article

References (13)

1. O. K. Bouwsma, 'The Expression Theory of Art', in O. K. Bouwsma, Philosophical Essays (Lincoln, NE: The University of Nebraska Press, 1969), p. 49.
2. The view that affective qualities are part of the perceptual field was given an elaborate statement much earlier in Charles Hartshorne's remarkable book, The Philosophy and Psychology of Sensation (1934),
3. where he wrote, for example: 'Thus, the "gaiety" of yellow (the peculiar highly specific gaiety) is the yellowness of the yellow' (The Philosophy and Psychology of Sensation [Port Washington, New York: Kennikat Press, 1968], p. 7).
4. See Peter Kivy, 'How Music Moves', in Philip Alperson (ed.), What is Music? An Introduction to the Philosophy of Music (New York: Haven, 1987),
5. later reprinted with revisions in Peter Kivy, Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca, NY: Cornell U.P., 1990), ch. 8.
6. Kivy, Music Alone, chs 5 and 6.
7. Stephen Davies, Musical Meaning and Expression (Ithaca, NY: Cornell U.P., 1994), p. 279.
8. Jerrold Levinson, 'Music and Negative Emotion', in J. Levinson, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics (Ithaca, NY: Cornell U.P., 1990), pp. 306-335.
9. Jerrold Levinson, 'Musical Expressiveness', in J. Levinson, The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell U.P., 1996), pp. 91-92.
10. Davies, Musical Meaning and Expression, pp. 305-306.
11. J. Levinson, 'Music and Negative Emotion', in Music, Art, and Metaphysics, pp. 313-314.
12. Levinson, 'Musical Expressiveness', p. 113.
13. Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), p. 8.