By Geoffrey Madell
Philosophy, song and Emotion explores contentious matters in modern philosophy: the character of music's energy to precise emotion, and the character of emotion itself. It exhibits how heavily the 2 are comparable and gives a notably new account of what it potential to claim that track "expresses emotion." Geoffrey Madell continues that almost all present debts of musical expressiveness are essentially faulty. He attributes this truth to the impression of a well-known argument of the nineteenth-century critic Hanslick, and in addition to the dominant "cognitivist" method of the character of emotion, which sees the essence of emotion to be the unique of evaluative judgments and ideology. This booklet argues that the cognitivist account of the character of emotion is fake and may get replaced with a belief of feelings as states of feeling. significant to this daring research is a brand new account of 2 heavily attached psychological states, hope and delight, and their position in human motivation.
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For Levinson, this appears to be just a step on the way towards imagining that the person who is sad is oneself. Ridley does not take this step, but, as we have seen, appears to think that the claim that our response to music is a sympathetic one ties it necessarily to the object of one's attention: the music. I have argued that this position cannot be reconciled with the claim that the feelings we experience are `not about anything' or are `episodes of passion'. However, it is worth considering a little further the suggestion that the feelings aroused by music are sympathetic or empathetic feelings, directed as though to a person.
Nevertheless, it is surely the case that our experience of music is much closer to that of identification than to that of a sympathetic response, as if to another person. It seems to me clear that what music evokes is not a sympathetic response as to another person, if only because, as I have claimed, to think of the music as another person is absurd. But I want to bring out a crucial respect in which our experience of music differs from a sympathetic or empathetic response to a person. In empathising or sympathising with another person, the sense of that other person is especially sharp.
My point is that behavioural similarity goes hand in hand with a profound expressive difference. 10. Kivy, Sound Sentiment, p. 81. 11. R. A. Sharpe's book Music and Humanism (Oxford: Oxford University Press, 2000), contains the most recent example I have met of the 28 Philosophy, Music and Emotion endorsement of Hanslick's claim that, as Sharpe puts it, `music does not articulate thoughts, therefore music can neither express nor represent the emotions proper' (p. 54), and that consequently `it is the music itself which is sad or gay, calm or tempestuous, ferocious or exuberant, and .