Music as an emotional enhancement in fil
Music as an Emotion Enhancement in Film
Music defined
Music is ubiquitous and has been part of our lives consciously and subconsciously from the moment we are born. Whether one is musically inclined or not, there is no doubt that music plays a significant part of an individual’s everyday life. To some, music is an essential part of being; it is a way of living, a form of escapism, an education, a means of relaxation and therapy. Music can reflect our mood and can be utilised to draw out hidden emotions, teaching us the unconscious components of our emotional construct. In the words of the great Friedrich Nietzsche ‘without music, life would be a mistake.’
It is subjective in what constitutes for music, many believe it is solely the make up of modes, scales, rhythms, harmonies and melodies. However, there are many who consider music to be the prosaic industrial sounds which we hear continuously, including silence. Musicologist Jean-Jacques Nattiez (1990) believes that ‘by all accounts there is no single or intercultural universal concept defining what music might be.’ In 1952, composer John Cage challenged the definition of music with his piece ‘Forty thirty three’. The score instructs the performers not to play their instruments for the entire four minutes and thirty three seconds of the piece. The piece was made to consist of the sounds of the environment that the listeners hear while it is performed (Kostelanetz, 2003). Cage believed any sound can be music, expressing; ‘There is no noise, only sound.’
Music and the brain
There is a momentous quantity of research advocating the competence of music to induce or evoke emotion in listeners (Gabrielsson, 2001; Scherer, 2004; Juslin & Laukka, 2004; Evans & Schubert, 2006; Juslin & Västfjäll, 2008; Lunqvist et al., 2009).
Professor of psychology and behavioural neuroscience Dr. Levitin (2006), says that music stimulates neurons in more areas of the brain than nearly
Music defined
Music is ubiquitous and has been part of our lives consciously and subconsciously from the moment we are born. Whether one is musically inclined or not, there is no doubt that music plays a significant part of an individual’s everyday life. To some, music is an essential part of being; it is a way of living, a form of escapism, an education, a means of relaxation and therapy. Music can reflect our mood and can be utilised to draw out hidden emotions, teaching us the unconscious components of our emotional construct. In the words of the great Friedrich Nietzsche ‘without music, life would be a mistake.’
It is subjective in what constitutes for music, many believe it is solely the make up of modes, scales, rhythms, harmonies and melodies. However, there are many who consider music to be the prosaic industrial sounds which we hear continuously, including silence. Musicologist Jean-Jacques Nattiez (1990) believes that ‘by all accounts there is no single or intercultural universal concept defining what music might be.’ In 1952, composer John Cage challenged the definition of music with his piece ‘Forty thirty three’. The score instructs the performers not to play their instruments for the entire four minutes and thirty three seconds of the piece. The piece was made to consist of the sounds of the environment that the listeners hear while it is performed (Kostelanetz, 2003). Cage believed any sound can be music, expressing; ‘There is no noise, only sound.’
Music and the brain
There is a momentous quantity of research advocating the competence of music to induce or evoke emotion in listeners (Gabrielsson, 2001; Scherer, 2004; Juslin & Laukka, 2004; Evans & Schubert, 2006; Juslin & Västfjäll, 2008; Lunqvist et al., 2009).
Professor of psychology and behavioural neuroscience Dr. Levitin (2006), says that music stimulates neurons in more areas of the brain than nearly
Bibliography: Nattiez, Jean-Jacques (1990). Music and discourse: toward a semiology of music. Carolyn Abbate, translator. Princeton University Press. pp. 48, 55. Kozinn, Allen (13 August 1992). "John Cage, 79, a Minimalist Enchanted With Sound, Dies". New York Times. Retrieved 11 September 2012. Levitin, Dr. D.J, 2006. This is your brain on music. 1st ed. New York : Dutton Penguin. A.Cohen - Cohen, A. J. (2001). Music as a source of emotion in film. In J. Sloboda and (Eds.). Music and emotion (pp. 245-268). Deutsch, D., (Ed.) Embler, J. (1974). The structure of film music. In Limbacher, J. L. (Ed.), Film Music: From Violins to Video (pp. 61-66). New Jersey. Huntley, J. & Manvell, R. (1957). The Technique of Film Music. London: Focal Press. Kalinak, K. (1992). Settling the Score: Music and the Classical Hollywood Film. Madison: The University of Wisconsin Press. Karlin, F. (1994). Listening to Movies: The Film Lover 's Guide to Film Music. New York: Schirmer Books. North, A. C. & Hargreaves, D. J. (1996). The effects of music on responses to a dining area. Journal of Environmental Psychology 16: 2, 135-137. Kivy, P, 1990. Music Alone: Philosophical Reflections on the Purely Musical Experience . 1st ed. Cornell University Press: New York Tiomkin, D, 1961. COMPOSING FOR FILMS Gabrielsson A. (2002). Perceived emotion and felt emotion: same or different? Musicae Sci. 6, 123–148. Juslin P. N., Laukka P. (2004). Expression, perception, and induction of musical emotions: a review and a questionnaire study of everyday listening. J. New Music Res. 33, 217–238 Evans P., Schubert E