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Music, Art and Emotion

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Abbreviations and acronyms, figures and tables appearing in the\\\\r\\\\ntext and notes xiii\\\\r\\\\nList of abbreviations and acronyms xiii\\\\r\\\\nList of figures xiii\\\\r\\\\nList of tables xvi\\\\r\\\\nNotes on contributors xix\\\\r\\\\nForeword xxiii\\\\r\\\\n\\\\r\\\\nChapter 1: Music, emotion and imagery 1\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 1\\\\r\\\\n‘Nagmusiek’ 5\\\\r\\\\nMusic and emotion 7\\\\r\\\\nPerceived and aroused emotions 8\\\\r\\\\nIdentifying emotions in music 10\\\\r\\\\nHow are emotions induced by music? 12\\\\r\\\\nImagery elicited from musically aroused emotions 15\\\\r\\\\nConclusion 17\\\\r\\\\nConsequences and limitations of this study 19\\\\r\\\\nChapter 2: ‘Nagmusiek’: An example of an interdisciplinary\\\\r\\\\nstudy employing artistic research and phenomenology as a\\\\r\\\\nmulti-method approach 21\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 21\\\\r\\\\nThe dissemination of knowledge derived from artistic research 23\\\\r\\\\nThe role of the researchers in collaborative artistic research 24\\\\r\\\\nMethodological pluralism in artistic research 25\\\\r\\\\nArtistic research and phenomenology 27\\\\r\\\\nTrustworthiness, credibility and research paradigms 30\\\\r\\\\nEthics 31\\\\r\\\\n‘Nagmusiek’: Combining artistic research and hermeneutic\\\\r\\\\nphenomenology 32\\\\r\\\\nSignificance of this study 38\\\\r\\\\nConclusion and delimitations 39\\\\r\\\\n\\\\r\\\\nContents\\\\r\\\\n\\\\r\\\\nviii\\\\r\\\\nChapter 3: Understanding night music through analysis: Nocturnal\\\\r\\\\nfeatures and forces 41\\\\r\\\\nJaco Meyer\\\\r\\\\nIntroduction 41\\\\r\\\\nMusic moves: Metaphors in music 44\\\\r\\\\nMusical forces and meaning 45\\\\r\\\\nMusical gravity 46\\\\r\\\\nMusical magnetism 46\\\\r\\\\nMusical inertia 47\\\\r\\\\nMeaning 47\\\\r\\\\nAnalysis 50\\\\r\\\\n‘Erlkönig’ 52\\\\r\\\\n‘Après un rêve’ 56\\\\r\\\\n‘Beim Schlafengehen’ and ‘Im abendrot’ 59\\\\r\\\\n‘Le spectre de la rose’ 64\\\\r\\\\nConclusion: References to the night 66\\\\r\\\\nTimbre and instrumentation 68\\\\r\\\\nTempo 69\\\\r\\\\nMode 69\\\\r\\\\nDynamics 70\\\\r\\\\nBeat and rhythm 70\\\\r\\\\nIntervals 71\\\\r\\\\nHarmony 71\\\\r\\\\nMusical forces 72\\\\r\\\\n\\\\r\\\\nChapter 4: Sublime darkness: Night-time in painting 73\\\\r\\\\nWillem Venter\\\\r\\\\nIntroduction 73\\\\r\\\\nThe sublime experience 78\\\\r\\\\nAlone in the dark 81\\\\r\\\\nThe spiritual realm 85\\\\r\\\\nNight-time everlasting 89\\\\r\\\\nConclusion 93\\\\r\\\\n\\\\r\\\\nChapter 5: Contextualising Romanticism as the ideal artistic movement\\\\r\\\\nfor sourcing emotion-rich songs that promote intentional meaning 95\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 95\\\\r\\\\nRomanticism 96\\\\r\\\\n\\\\r\\\\nContents\\\\r\\\\n\\\\r\\\\nix\\\\r\\\\nRomanticism and music 100\\\\r\\\\nIntentional affective composition and audience perception 102\\\\r\\\\nConclusion 105\\\\r\\\\n\\\\r\\\\nChapter 6: ‘Who’s riding so late, in the night and wind?’: Exploring\\\\r\\\\nhow four artists ascribe meaning to Schubert’s ‘Erlkönig’ 107\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 107\\\\r\\\\nSchubert and the German Lied 108\\\\r\\\\n‘Erlkönig’ and emotion 110\\\\r\\\\nInspiring visual art through meaning derived from Schubert’s ‘Erlkönig’ 115\\\\r\\\\nMarna de Wet 115\\\\r\\\\nJean Lampen 119\\\\r\\\\nThematic unity 119\\\\r\\\\nThe Wolf as representative of Schubert’s ‘Erlkönig’ 121\\\\r\\\\nElna Venter 123\\\\r\\\\nKevin du Plessis 126\\\\r\\\\nConclusion 129\\\\r\\\\n\\\\r\\\\nChapter 7: Depicting loss, longing and desire in Berlioz’s\\\\r\\\\n‘Le spectre de la rose’ 131\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 131\\\\r\\\\nMélodie, meaning and emotion 133\\\\r\\\\nBerlioz, his writing style and emotion 135\\\\r\\\\nLes nuits d’été Op. 7 138\\\\r\\\\nInspiring visual art through meaning derived from Berlioz’s\\\\r\\\\n‘La spectre de la rose’ 141\\\\r\\\\nMarna de Wet 141\\\\r\\\\nJean Lampen 145\\\\r\\\\nElna Venter 146\\\\r\\\\nKevin du Plessis 151\\\\r\\\\nConclusion 153\\\\r\\\\n\\\\r\\\\nChapter 8: ‘Return O mysterious night!’: Exploring the meaning\\\\r\\\\nartists ascribe to Fauré’s ‘Après un rêve’ 155\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 155\\\\r\\\\n\\\\r\\\\nContents\\\\r\\\\n\\\\r\\\\nx\\\\r\\\\nGabriel Fauré and ‘Après un rêve’ [‘After a dream’] 156\\\\r\\\\nInspiring visual art through meaning derived from Fauré’s\\\\r\\\\n‘Après un rêve’ 160\\\\r\\\\nMarna de Wet 160\\\\r\\\\nJean Lampen 163\\\\r\\\\nElna Venter 165\\\\r\\\\nKevin du Plessis 169\\\\r\\\\nConclusion 171\\\\r\\\\n\\\\r\\\\nChapter 9: Catapulting the soul into ‘the enchanted circle of the\\\\r\\\\nnight’: Exploring how four artists ascribe meaning to Strauss’\\\\r\\\\n‘Beim Schlafengehen’ 173\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 173\\\\r\\\\nRichard Strauss, emotion and instrumentation 174\\\\r\\\\nVier Letzte Lieder [Four last songs] Op. posth. 176\\\\r\\\\nPauline de Ahna 178\\\\r\\\\n‘Beim Schlafengehen’ [‘While going to sleep’] 179\\\\r\\\\nInspiring visual art through meaning derived from Strauss’\\\\r\\\\n‘Beim Schlafengehen’ 183\\\\r\\\\nMarna de Wet 183\\\\r\\\\nJean Lampen 184\\\\r\\\\nElna Venter 186\\\\r\\\\nKevin du Plessis 191\\\\r\\\\nDiscussion and conclusion 194\\\\r\\\\n\\\\r\\\\nChapter 10: In the night, we shall find eternal rest: Exploring how four\\\\r\\\\nartists ascribe meaning to Strauss’ ‘Im abendrot’ 199\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 199\\\\r\\\\n‘Im abendrot’ [‘At dusk’] 200\\\\r\\\\nInspiring visual art through meaning derived from Strauss’ ‘Im abendrot’ 202\\\\r\\\\nMarna de Wet 202\\\\r\\\\nJean Lampen 205\\\\r\\\\nElna Venter 208\\\\r\\\\nKevin du Plessis 210\\\\r\\\\nDiscussion and conclusion 214\\\\r\\\\n\\\\r\\\\nContents\\\\r\\\\n\\\\r\\\\nxi\\\\r\\\\n\\\\r\\\\nChapter 11: Conclusion: How four visual artists made sense\\\\r\\\\nof referentialism in music during their creative processes and\\\\r\\\\nin their artworks 219\\\\r\\\\nConroy Cupido\\\\r\\\\nIntroduction 219\\\\r\\\\nEliciting emotion and imagery from art songs without an\\\\r\\\\nunderstanding of the text 221\\\\r\\\\nMaking emotion explicit 222\\\\r\\\\nThe Night (‘Nagmusiek’) 223\\\\r\\\\nSchubert’s ‘Erlkönig’ 223\\\\r\\\\nBerlioz’s ‘La spectre de la rose’ 225\\\\r\\\\nFauré’s ‘Après un rêve’ 226\\\\r\\\\nStrauss’ ‘Beim Schlafengehen’ 229\\\\r\\\\nStrauss’ ‘Im abendrot’ 231\\\\r\\\\nConclusion and recommendations 233\\\\r\\\\n\\\\r\\\\nReferences 237\\\\r\\\\nIndex 251

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Series Title

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Call Number

782.420 Con m

Publisher

Cape Town : AOSIS Publishing., 2022

Collation

xxiii, 278 hlm. : 24,5 x 17 cm

Language

English

ISBN/ISSN

978-1-77634-234-1

Classification

782.420

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-

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-

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-

Edition

-

Subject(s)

Music--Psychological aspects
Art and music
Songs,-19th century--History and criticism

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