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<DIV dir=ltr align=left><SPAN class=890503808-24022012><FONT face=Arial>List
members seeking overviews of the current state of music and emotion research
could do worse than looking at the special issues of <EM>Musicae Scientiae<SPAN
class=slug-pub-date> 15/2 (July 2011</SPAN></EM><SPAN><EM>) </EM>and <EM>Music
Analysis</EM> 29/1-3 (2010) which arose from the 'Music and Emotion' conference
at Durham a couple of years ago; Juslin and Sloboda's <EM>Music and Emotion
</EM>(OUP 2001) is older but contains important research; and some
articles in Jenefer Robinson's collection <EM>Music and Meaning</EM>
(Cornell 1997) deal </SPAN></FONT></SPAN><SPAN class=890503808-24022012><FONT
face=Arial><SPAN>with the issue of music, analysis and emotional
experience.<EM> </EM>My Keele colleague Alexandra Lamont has done
fascinating work on music and peak emotional experiences; Vincent Meelberg's
work on 'sonic strokes' and the transition from affect to emotional
experience may also be of interest.</SPAN></FONT></SPAN></DIV>
<DIV dir=ltr align=left><SPAN class=890503808-24022012><FONT
face=Arial><SPAN><EM></EM></SPAN></FONT></SPAN> </DIV>
<DIV><SPAN class=890503808-24022012><FONT face=Arial>Kind
regards</FONT></SPAN></DIV>
<DIV><SPAN class=890503808-24022012><FONT face=Arial></FONT></SPAN> </DIV>
<DIV><SPAN class=890503808-24022012><FONT face=Arial>Dr Nicholas
Reyland</FONT></SPAN></DIV>
<DIV><SPAN class=890503808-24022012><FONT face=Arial>Music, Keele
University</FONT></SPAN></DIV>
<DIV><SPAN class=890503808-24022012><FONT face=Arial><A
href="mailto:n.w.reyland@keele.ac.uk">n.w.reyland@keele.ac.uk</A></FONT></SPAN></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT color=#0000ff face=Arial></FONT><BR></DIV>
<DIV dir=ltr lang=en-us class=OutlookMessageHeader align=left>
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<FONT size=2 face=Tahoma><B>From:</B>
smt-talk-bounces@lists.societymusictheory.org
[mailto:smt-talk-bounces@lists.societymusictheory.org] <B>On Behalf Of
</B>Dunsby, Jonathan<BR><B>Sent:</B> 24 February 2012 03:09<BR><B>To:</B>
smt-talk<BR><B>Subject:</B> Re: [Smt-talk] Beethoven's
Sonatas<BR></FONT><BR></DIV>
<DIV></DIV>
<DIV dir=ltr id=idOWAReplyText26293>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS">I wish I truly knew what you mean
by 'emotion.' Human feelings seem to be incredibly complex. How do you know
you're even asking meaningful questions about what happens when people need
music?</FONT></DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS"></FONT> </DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS">Pinning a word to an
abstracted musical object seems, well, doubly, utterly weird, although
music-cognition people do it all the time. I personally think they are
fantasizing, but there we are.</FONT></DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS"></FONT> </DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS">You carry on. Who knows what you
may discover?</FONT></DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS"></FONT> </DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS">You might find Naomi Cumming's
<EM>The Sonic Self</EM> interesting, in its warnings about mentalist
preconceptions?</FONT></DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS"></FONT> </DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS">Jonathan</FONT></DIV>
<DIV dir=ltr><FONT size=2 face="Trebuchet MS"></FONT> </DIV></DIV>
<DIV dir=ltr id=idSignature95864>
<DIV RE>
<DIV class=MsoNormal><SPAN
style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt">______________</SPAN></DIV>
<DIV class=MsoNormal><SPAN
style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><FONT size=3
face="Times New Roman">Jonathan Dunsby</FONT></SPAN></DIV>
<DIV class=MsoNormal><SPAN
style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><FONT size=3
face="Times New Roman">Chair, Music Theory Department</FONT></SPAN></DIV>
<DIV class=MsoNormal><SPAN
style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><FONT size=3
face="Times New Roman">Professor of Music Theory</FONT></SPAN></DIV>
<DIV class=MsoNormal><SPAN
style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><FONT size=3
face="Times New Roman">Eastman School of Music</FONT></SPAN></DIV>
<DIV class=MsoNormal> </DIV>
<DIV class=MsoNormal> </DIV>
<DIV RE>
<DIV RE>
<DIV RE><A
href="https://webmail.ur.rochester.edu/exchweb/bin/redir.asp?URL=http://www.ithaca.edu/music/mtsnys/officers.html"
target=_blank><FONT
face="Times New Roman">http://www.ithaca.edu/music/mtsnys/officers.html</FONT></A>
<DIV RE>
<DIV RE><PRE></PRE></DIV></DIV></DIV></DIV></DIV></DIV></DIV>
<DIV dir=ltr><BR>
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<FONT size=2 face=Tahoma><B>From:</B> Joshua Albrecht<BR><B>Sent:</B> Thu
2/23/2012 11:46<BR><B>To:</B> smt-talk<BR><B>Subject:</B> Re: [Smt-talk]
Beethoven's Sonatas<BR></FONT><BR></DIV>
<DIV dir=ltr>
<DIV
style="FONT-FAMILY: Tahoma; DIRECTION: ltr; COLOR: #000000; FONT-SIZE: 10pt">
<DIV>Dear list,</DIV>
<DIV><BR></DIV>
<DIV>Perhaps I should post some clarification. A number of you have
responded to my question about the emotional expression of excerpts from the
Beethoven sonatas with concern about the subjective nature of any response you
could give, paired with some suggestion for approaching the question from within
a given theoretical framework. In
actuality, I <I>am</I> interested in your subjective experience
of Beethoven, because what I'm really curious about is how to look at subjective
experience more objectively. What I'm really after is a set of excerpts
that have the potential to be strongly evocative of different emotions for a
range of listeners. The research indicates that despite the
individual differences between listeners in how they approach an excerpt, there
is quite a lot of agreement about the emotional expression perceived in a given
excerpt. In order to study this more in depth, I'd like to get a number of
excerpts from a limited repertoire (in this case Beethoven sonatas) that cover a
broad range of emotions.</DIV>
<DIV>
<DIV><BR></DIV>
<DIV>One way of doing that would be to randomly sample excerpts from all of
Beethoven's piano sonatas. The downside to this approach is that I may not
get a lot of variety in the emotions expressed. In other words, many of
the excerpts could express the same emotions (or worse, not be particularly
expressive at all). Another approach (the one I'm using) is to ask a panel
of experts about what excerpts are particularly evocative of various emotions.
Getting a pool of excerpts would allow me to actually test any number of
theories about how musical structures contribute to emotional expression in
Beethoven's sonatas.</DIV>
<DIV><BR></DIV>
<DIV>Thanks again for your thoughts!</DIV>
<DIV><BR></DIV></DIV>
<DIV>Joshua Albrecht</DIV>
<DIV>School of Music</DIV>
<DIV>Ohio State University</DIV>
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