This is the first comprehensive theoretical article on aesthetic emotions. Following Kant's definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Each aesthetic emotion is tuned to a special type of perceived aesthetic appeal and is predictive of the subjectively felt pleasure or displeasure and the liking or disliking associated with this type of appeal. Contrary to the negativity bias of classical emotion catalogues, emotion terms used for aesthetic evaluation purposes include far more positive than negative emotions. At the same time, many overall positive aesthetic emotions encompass negative or mixed emotional ingredients. Appraisals of intrinsic pleasantness, familiarity, and novelty are preeminently important for aesthetic emotions. Appraisals of goal relevance/conduciveness and coping potential are largely irrelevant from a pragmatic perspective, but in some cases highly relevant for cognitive and affective coping. Aesthetic emotions are typically sought and savored for their own sake, with subjectively felt intensity and/or emotional arousal being rewards in their own right. The expression component of aesthetic emotions includes laughter, tears, and facial and bodily movements, along with applause or booing and words of praise or blame. Aesthetic emotions entail motivational approach and avoidance tendencies, specifically, tendencies toward prolonged, repeated, or interrupted exposure and wanting to possess aesthetically pleasing objects. They are experienced across a broad range of experiential domains and not coextensive with art-elicited emotions. (PsycINFO Database Record (c) 2019 APA, all rights reserved).

What are aesthetic emotions

The first part of this paper presents a systematic application of a functionalist perspective to the study of emotional communication in music performance. This involves the integration of ideas and concepts from psychological research on emotion and nonverbal communication with Brunswik's (1956) probabilistic functionalism and a modified version of his lens model. It is argued that this approach may provide the necessary theoretical foundation by generating useful questions, hypotheses, and ways of evaluating data from performance analyses and listening experiments. The second part reports an experimental study in which professional guitar players were instructed to play a short piece of music so as to communicate four basic emotions to listeners. The resulting performances were analyzed regarding various cues, such as tempo, sound level, and articulation. It was found that (a) the expressive intentions of the performers affected all of the measured cues in the performances, (b) the cues had merely a probabilistic relation to the performers' intentions, and (c) the cues were intercorrelated. The performances were also validated in a listening experiment which showed that listeners were successful in decoding the intended expression, and that there were no differences in decoding accuracy between musically trained and untrained listeners.

Emotional Communication in Music Performance: A Functionalist Perspective and Some Data

Music is regarded in biological terms as originating in the brain, so that most explanations concentrate on the ways in which brains process information. Recent studies of the nonlinear dynamics of the primary sensory cortices have shown that the patterns that are constructed by chaotic nonlinear dynamics in cortical neuropil replace stimulus driven activity. This finding supports the concept that knowledge in brains is entirely constructed within them without direct transfer of information from outside. As knowledge increases by learning, brains of individuals grow progressively apart. The separation results from the uniqueness of the knowledge that is constructed within each brain. The resulting condition of isolation is known among philosophers as epistemological solipsism. This view is reinforced by the tenets of aesthetics, which emphasize the deeply personal experiences of individuals, not as active listeners but as passive recipients of beauty in music and other arts. Neither conventional neuroscience nor aesthetics can explain the deep emotional power of music to move humans to action. An alternative view is presented, in which human brains are seen to have evolved primarily in response to environmental pressures to bridge the solipsistic gulf between individuals, and to form integrated societies. An evolutionary origin is found in the neurohumoral mechanisms of parental bonding to altricial infants. A case is made that music together with dance have co-evolved biologically and culturally to serve as a technology of social bonding. Findings of anthropologists and psychiatrists are reviewed to show

/pdf/a-neurobiological-role-of-music-in-social-bonding-37p3n37s02.pdf

A neurobiological role of music in social bonding

Body movement is integral to both performance and perception of music, and this dissertation suggests that we also think about music as movement. Based on ideas of embodied music cognition, it is argued that ecological knowledge of action-sound couplings guide our experience of music, both in perception and performance. Then follows a taxonomy of music-related body movements, before various observation studies of perceiver’s music-movement correspondences are presented: air instrument performance, free dance to music, and sound-tracing. These studies showed that both novices and experts alike seem to associate various types of body movement with features in the musical sound. Knowledge from the observation studies was used in the exploration of artificial actionsound relationships through the development of various prototype music controllers, including the Cheapstick, music balls, and the Music Troll. This exploration showed that it is possible to create low-cost and human-friendly music controllers that may be both intuitive and creatively interesting. The last part of the dissertation presents tools and methods that have been developed throughout the project, including the Musical Gestures Toolbox for the graphical programming environment Max/MSP/Jitter; techniques for creating motion history images and motiongrams of video material; and development of the Gesture Description Interchange Format (GDIF) for streaming and storing musicrelated movement data. These tools may be seen as an answer to many of the research questions posed in the dissertation, and have facilitated the analysis of music-related movement and creation of artificial action-sound relationships in the project.

Action-sound : developing methods and tools to study music-related body movement

We present the design and implementation of the Conductor's Jacket, a unique wearable device that measures physiological and gestural signals, together with the Gesture Construction, a musical software system that interprets these signals and applies them expressively in a musical context. Sixteen sensors have been incorporated into the Conductor's Jacket in such a way as to not encumber or interfere with the gestures of a working orchestra conductor. The Conductor's Jacket system gathers up to sixteen data channels reliably at rates of 3 kHz per channel, and also provides real-time graphical feedback. Unlike many gesture-sensing systems it not only gathers positional and accelerational data but also senses muscle tension from several locations on each arm. The Conductor's Jacket was used to gather conducting data from six subjects, three professional conductors and three students, during twelve hours of rehearsals and performances. Analyses of the data yielded thirty-five significant features that seem to reflect intuitive and natural gestural tendencies, including context-based hand switching, anticipatory 'flatlining' effects, and correlations between respiration and phrasing. The results indicate that muscle tension and respiration signals reflect several significant and expressive characteristics of a conductor's gestures. From these results we present nine hypotheses about human musical expression, including ideas about efficiency, intentionality, polyphony, signal-to-noise ratios, and musical flow state. Finally, this thesis describes the Gesture Construction, a musical software system that analyzes and performs music in realtime based on the performers gestures and breathing signals. A bank of software filters extracts several of the features that were found in the conductor study, including beat intensities and the alternation between arms. These features are then used to generate real-time expressive effects by shaping the beats, tempos, articulations, dynamics, and note lengths in a musical score. Thesis Supervisor: Tod Machover Title: Associate Professor of Music and Media Program in Media Arts and Sciences Thesis Supervisor: Rosalind W. Picard Title: Associate Professor of Media Arts and Sciences Program in Media Arts and Sciences

/pdf/inside-the-conductor-s-jacket-analysis-interpretation-and-37z95dkbiz.pdf

Inside the conductor's jacket: analysis, interpretation and musical synthesis of expressive gesture

Music, mind and brain: The neuropsychology of music

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Music, mind and brain: The neuropsychology of music