Music and emotion  

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 +"I know not how to draw any distinction between [[tears]] and [[music]]." ("Ich weiß keinen Unterschied zwischen Tränen und Musik zu machen") --''[[Ecce Homo]]'' (1908) by Friedrich Nietzsche
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"In an early work, [[Adorno]] once disclosed his emotional-epistemological secret almost without camouflage. In a few heartrending lines he wrote about crying in response to [[Schubert]]'s music, about how [[tears]] and knowing (''Erkenntnis'') are connected. This music makes us cry because we are not like it, not something complete, which turns toward the lost sweetness of life like a distant quotation." --''[[Critique of Cynical Reason]]'' (1983) by Peter Sloterdijk "In an early work, [[Adorno]] once disclosed his emotional-epistemological secret almost without camouflage. In a few heartrending lines he wrote about crying in response to [[Schubert]]'s music, about how [[tears]] and knowing (''Erkenntnis'') are connected. This music makes us cry because we are not like it, not something complete, which turns toward the lost sweetness of life like a distant quotation." --''[[Critique of Cynical Reason]]'' (1983) by Peter Sloterdijk
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Revision as of 10:01, 23 November 2021

"I know not how to draw any distinction between tears and music." ("Ich weiß keinen Unterschied zwischen Tränen und Musik zu machen") --Ecce Homo (1908) by Friedrich Nietzsche


"In an early work, Adorno once disclosed his emotional-epistemological secret almost without camouflage. In a few heartrending lines he wrote about crying in response to Schubert's music, about how tears and knowing (Erkenntnis) are connected. This music makes us cry because we are not like it, not something complete, which turns toward the lost sweetness of life like a distant quotation." --Critique of Cynical Reason (1983) by Peter Sloterdijk


“Vor Schuberts Musik stürzt die Träne aus dem Auge,ohne erst die Seele zu befragen : so unbildlich und real fällt sie in uns ein. Wir weinen, ohne zu wissen, warum; weilwir so noch nicht sind, wie jene Musik verspricht, und im unbenannten Glück, daß sie nur so zu sein braucht, dessen uns zu versichern, daß wir einmal so sein werden. Wir können sie nicht lesen; aber dem scheidenden, überfluteten Auge hält sie vor die Chiffren der endlichen Versöhnung."--Adorno, Die Musik, 1928, republished in Moments Musicaux

English:

"[There is a Schubert who speaks in] dialect, but it is a dialect divorced from the soil. It is the incarnation of a homeland - but not a homeland here, a remembered one...There is no path from Schubert to the perfection of a genre or to "the art of blood and earth" [Schollenkunst], only one to depest depravity and another to the still-hardly addressed reality of a free music of the transformed man and a transformed culture. In irregular waves, like a seismograph, Schubert's music has heard the news of a qualitative change in man. Tears are the fitting response; the tears of the feeblest lilac-time sentimentality, the tears of the exhausted body, no matter. In fact of Schubert's music, tears fall from the eye, without first asking leave of the soul; so unpictorial and real is it, as it enters into us. We weep without knowing why: because we are not yet as this music promises us..."--translation via Franz Schubert: Music and Belief (2003) by Leo Black

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"The study of 'music and emotion' seeks to understand the psychological relationship between human affect and music. It is a branch of music psychology with numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical composition or performance may elicit certain reactions. The field draws upon, and has significant implications for, such areas as philosophy, musicology, music therapy, music theory and aesthetics, as well as the acts of musical composition and performance.

Two of the most influential philosophers in the aesthetics of music are Stephen Davies and Jerrold Levinson.

See also




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Music and emotion" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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