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題名 Answering the Question: How Can Music (and Some of the Arts) Be Sad? 作者 趙順良
Chao, Shun-Liang貢獻者 英文系 關鍵詞 comparative arts; emotion; expression; projection; Levinson 日期 2023-12 上傳時間 26-Mar-2024 15:09:27 (UTC+8) 摘要 This paper seeks to explain how music can be sad and how music is different from poetry and from painting in terms of one's experience of sadness in an artwork. Expression theorists like John Dewey believe that music is expressive of emotions because it stems from the spontaneous overflow of the artist's inner turmoil. That is, music, per se, has the power to make the listener, say, sad. On the other hand, projection theorists like Stephen Davies maintain that the listener experiences a piece of music as sad because s/he projects his/her sadness onto it or recognises the property of sadness in it. Although nowadays widely considered more valid than the expression theory, the projection theory has been refined by several critics. Jerrod Levinson, for instance, maintains that, in order to recognise or experience the emotions in music, the listener needs to be "appropriately backgrounded" and to listen to music in its (socio-historical and/or intellectual) context. Convincing as it seems, Levinson's notion of an "appropriately backgrounded" audience, I shall argue, applies to poetry better than to music in general, in that poetry, owing to being verbally mediated, must greatly involve the reader's cognitive mediation for him/her to infer the emotions in it. 關聯 Journal of Comparative Literature and Aesthetics, Vol.46, No.4, pp.25-33 資料類型 article dc.contributor 英文系 dc.creator (作者) 趙順良 dc.creator (作者) Chao, Shun-Liang dc.date (日期) 2023-12 dc.date.accessioned 26-Mar-2024 15:09:27 (UTC+8) - dc.date.available 26-Mar-2024 15:09:27 (UTC+8) - dc.date.issued (上傳時間) 26-Mar-2024 15:09:27 (UTC+8) - dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/150552 - dc.description.abstract (摘要) This paper seeks to explain how music can be sad and how music is different from poetry and from painting in terms of one's experience of sadness in an artwork. Expression theorists like John Dewey believe that music is expressive of emotions because it stems from the spontaneous overflow of the artist's inner turmoil. That is, music, per se, has the power to make the listener, say, sad. On the other hand, projection theorists like Stephen Davies maintain that the listener experiences a piece of music as sad because s/he projects his/her sadness onto it or recognises the property of sadness in it. Although nowadays widely considered more valid than the expression theory, the projection theory has been refined by several critics. Jerrod Levinson, for instance, maintains that, in order to recognise or experience the emotions in music, the listener needs to be "appropriately backgrounded" and to listen to music in its (socio-historical and/or intellectual) context. Convincing as it seems, Levinson's notion of an "appropriately backgrounded" audience, I shall argue, applies to poetry better than to music in general, in that poetry, owing to being verbally mediated, must greatly involve the reader's cognitive mediation for him/her to infer the emotions in it. dc.format.extent 143 bytes - dc.format.mimetype text/html - dc.relation (關聯) Journal of Comparative Literature and Aesthetics, Vol.46, No.4, pp.25-33 dc.subject (關鍵詞) comparative arts; emotion; expression; projection; Levinson dc.title (題名) Answering the Question: How Can Music (and Some of the Arts) Be Sad? dc.type (資料類型) article
