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On Difficulties of Musical Arousalism
Abstract.The article considers one of the most influential music approaches of analytical philosophy to the problem of emotional expressiveness of music – arousalism or evocationism according to which the constitutive moment of music expression of emotions is an affective response generated by music. The article is focused on the two most vulnerable points of this approach: justification of (1) the link between the audience response generated by music through causal means and the emotion attributed to music and (2) the identity of the emotion evoked/expressed by music. The author analyses the attempts to resolve these issues which are based on the postulation of intentional affective reactions generated by music (Mew, Greenspan, Madell), and the alternative Matravers concept (based on an analogy with the perception of colour) consistently supporting the causal principle. The main method of study is the analysis of concepts and argumentative strategies, reconstruction of positions of individual authors. The article also applies a comparative method. The author introduces and analyzes a collection of writings in the analytical philosophy of music of the last two decades into scientific parlance in the Russian-language literature, which deal with the problem of emotional expressiveness of music in the context of arousalism. The article reveals the explicative potential of alternative versions of this approach with the involvement of modern (mainly English) empirical studies.
Keywords: dynamic properties, emotive judgement, separate experience, intentionality, affective component, arousalism, Kivy, Matravers, causality, identification of emotion
Article was received:26-06-2018
This article written in Russian. You can find full text of article in Russian here .