Music and emotion

Research into music and emotion seeks to understand the psychological relationship between human affect and music. The field, a branch of music psychology, covers 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 research 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 of musical performance like a concert. Two of the most influential philosophers in the aesthetics of music are Stephen Davies and Jerrold Levinson. Davies calls his view of the expressiveness of emotions in music "appearance emotionalism", which holds that music expresses emotion without feeling it. Objects can convey emotion because their structures can contain certain characteristics that resemble emotional expression. He says, "The resemblance that counts most for music's expressiveness ... is between music's temporally unfolding dynamic structure and configurations of human behaviour associated with the expression of emotion." The observer can note emotions from the listener's posture, gait, gestures, attitude, and comportment. Associations between musical features and emotion differ among individuals. Appearance emotionalism claims many listeners' perceiving associations constitutes the expressiveness of music. Which musical features are more commonly associated with which emotions is part of music psychology. Davies says that expressiveness is an objective property of music and not subjective in the sense of being projected into the music by the listener. Music's expressiveness is certainly response-dependent, i.e. it is realized in the listener's judgement. Skilled listeners very similarly attribute emotional expressiveness to a certain piece of music, thereby indicating according to Davies that the expressiveness of music is somewhat objective because if the music lacked expressiveness, then no expression could be projected into it as a reaction to the music.