Why music moves us

Why Music Moves Us

Volumn , Issue , 2009, Pages 1-165

  Bicknell, Jeanette ^a  

^a NONE   (Canada)

Author keywords

history; knowledge; music; philosophy

Indexed keywords

EID: 85121182372     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1057/9780230233836     Document Type: Book

References (27)

1. Stephen Davies, “Philosophical Perspectives on Music’s Expressiveness,” in Music and Emotion: Theory and Research, eds. Patrik N. Juslin and John A. Sloboda (Oxford: Oxford University Press, 2001), pp. 23–44.
2. Joseph LeDoux, The Emotional Brain: The Mysterious Underpinnings of Emotional Life (New York: Simon & Schuster, 1998).
3. Gretchen L. Finney, “Ecstasy and Music in Seventeenth-Century England,” Journal of the History of Ideas 8:2 (April 1947) 153–86.
4. Nelson Goodman, Languages of Art (Indianapolis: Hackett, 1976).
5. Kathleen Marie Higgins, The Music of Our Lives (Philadelphia: Temple University Press, 1991).
6. Justine Kingsbury, “Matravers on Musical Expressiveness,” British Journal of Aesthetics 42:1 (January 2002) 13–19.
7. Nick Zangwill, “Against Emotion: Hanslick was Right about Music,” British Journal of Aesthetics 44:1 (January 2004) 29–43.
8. Leon Botstein, “Towards a History of Listening,” The Musical Quarterly 82:3/4 (Autumn–Winter 1998) 427–31.
9. James J. Hill, “The Aesthetic Principles of the Peri Hupsous,” Journal of the History of Ideas 27:2 (April–June 1966) 265–74.
10. James H. Johnson, Listening in Paris, a Cultural History (Berkeley, CA: University of California Press, 1995).
11. Vanessa L. Ryan, “The Physiological Sublime: Burke’s Critique of Reason,” Journal of the History of Ideas 62:2 (April 2001) 265–79.
12. William Weber, “Did People Listen in the 18th Century?” Early Music 25:4 (November 1997) 678–91.
13. James Elkins, Pictures and Tears: A History of People who have Cried in Front of Paintings (New York: Routledge, 2001), p. 248.
14. James Elkins, Pictures and Tears: A History of People who have Cried in Front of Paintings (New York: Routledge, 2001), p. 248.
15. David Fanshawe. Liner notes to Witchcraft & Ritual Music, Nonesuch Explorer Series 79708–2. 1975
16. John Sloboda, “Music Structure and Emotional Response: Some Empirical Findings,” Psychology of Music 19 (1991) 110–20.
17. John Sloboda, “Everyday Uses of Music Listening: A Preliminary Survey,” in Music, Mind, and Science, ed. Suk Won Yi (Seoul: Seoul National University Press, 1999), pp. 354–5.
18. John Sloboda, “Empirical Studies of Emotional Response to Music,” in Cognitive Bases of Musical Communication, eds. Mari Riess Jones and Susan Holleran (Washington, DC: American Psychological Association, 1992), pp. 33–46.
19. Anne Vincent-Buffault, The History of Tears: Sensibility and Sentimentality in France, trans. Teresa Bridgeman (New York: St. Martin’s Press, 1991).
20. Jeanette Bicknell, “Explaining Strong Emotional Responses to Music: Sociality and Intimacy,” Journal of Consciousness Studies 14:12 (2007) 5–23.
21. Ludwig Wittgenstein, Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Basil Blackwell, 1953). The relevant sections are 243–315.
22. Anne J. Blood et al., “Emotional Responses to Pleasant and Unpleasant Music Correlate with Activity in Paralimbic Brain Regions,” Nature Neuroscience 2:4 (April 1999) 382–7.
23. A. Storr, Music and the Mind (New York: Free Press, 1992).
24. Thomas R. Insel, “Oxytocin and the Neurobiology of Attachment,” Behavioral and Brain Sciences 15 (1992) 515–16.
25. R. A. Sharpe, Philosophy of Music: An Introduction (Stocksfield: Acumen Publishing, 2004).
26. David A. White, “Towards a Theory of Profundity in Music,” Journal of Aesthetics and Art Criticism 50 (1992) 23–34.
27. Eduard Hanslick, On the Musically Beautiful, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986)