Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology
Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Alison Warrenburg, M.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee: Daniel Shanahan, Advisor David Huron Anna Gawboy Dónal O’Mathúna Copyright by Lindsay Alison Warrenburg 2019 2 Abstract Music, perhaps more than any other art form, is able to influence moods and affect behavior. There are limitless accounts of music eliciting feelings of nostalgia, transcendence, and other seemingly ineffable emotions. In the scientific study of music and emotion, however, only five music-induced emotions have been studied in depth: happiness, sadness, fear, anger, and tenderness (Juslin, 2013). Although these emotions are certainly important and can be expressed and elicited through music listening, a pertinent question becomes the following: do these five words accurately capture all affective states related to music? Throughout my dissertation, I argue that in order to better understand emotional responses to musical stimuli, we need to change the way we use emotional terminology and examine emotional behaviors. In the first part of the dissertation (Chapters 1-4), I review how emotional music has been theoretically characterized and which excerpts have been utilized in research. I will show that the field of music and emotion is fraught with conceptual difficulties and that passages of music expressing a single emotion (e.g., sadness) span an unmanageably large area of emotional space. The second part of the dissertation (Chapters 5-8) provides an in-depth analysis of music that has been classified by other researchers as sad.
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