By Guerino Mazzola
This publication explains music’s finished ontology, its approach of life and processing, as laid out in its compact characterization: song embodies significant verbal exchange and mediates bodily among its emotional and psychological layers. The e-book unfolds in a easy discourse in daily language that's available to each person who desires to comprehend what this subject is set. Musical ontology is behind schedule in its primary dimensions: its realities, its significant verbal exchange, and its embodied utterance from musical creators to an viewers.
The authors' method is appropriate to each musical style and is medical, the ebook is acceptable for non-musicians and non-scientists alike.
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Additional info for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment
Of course, it is by no means a negative judgment about schizophrenics to put into question their compositional abilities. It might also be true that in future times they could compose a type of music that has high qualities that we cannot view and appreciate at present. A third example of neurological evidence of musical stimuli, and this time strongly related to emotion, is Mazzola’s joint research with epileptologist Heinz-Gregor Wieser at the University Hospital in Zürich from 1984 to 1986 [37, 68, 69].
As part of their model, they referenced the neurophysiological concept of core aﬀect. Psychologists used the term “aﬀect” to describe emotions, feelings, and attitudinal valence (whether someone views something as good or bad). Core aﬀect is a neurophysiological state measured on two continuous dimensions: pleasure versus displeasure and high activation versus low activation. According to the deﬁnition provided by Russell and Barrett, core aﬀect does not account for “prototypical emotions”, or emotions that depend on direction towards an object.
Emotion is as much of a subjective experience as it is an objective one. That is, emotion is experienced diﬀerently by diﬀerent individuals. As such, we cannot depend solely on objective measurements alone. In order to measure things that are unique to an individual, we use self-report methods. g. Likert scale), questionnaires, and inventories. Through these measures, we can collect data about individual experiences and organize them into broad categories. For example, if we wanted to look at whether Beethoven’s Fifth Symphony could cause somebody to feel anxious we may have them listen to the music, then answer a Likert-scale question like the following: Rate the extent to which you agree to the following: I am feeling anxious.
All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment by Guerino Mazzola