![]() To a certain extent, the basic assertion of the Theory of Musical Equilibration is a revised interpretation of Ernst Kurth’s descriptions of leading notes. The central premise of the Theory of Musical Equilibration is that music does not directly elicit emotions instead, it communicates processes of the will- probably anchored in overtones-which the listener identifies and then interprets emotionally. More detailed information about the Theory and the methodology of our research can be found in our primary publication, Music and Emotions-Research on the Theory of Musical Equilibration. The results of the research offer empirical validation of the Theory of Musical Equilibration and show clear-cut parallels to the statements asserted by this Theory. The participants included members of the Vienna Boys Choir. Between 19, over 2100 participants at German schools in Europe, Asia, Australia, North and South America took part in studies on the Theory of Musical Equilibration. It breaks down musical sequences into one of their most essential components harmonies and directly uses this material as the basis of its argumentation. To the best of our knowledge, the theory of Musical Equilibration (known in the original German as the Strebetendenz-Theorie ) is the first to create a psychological paradigm which explains the emotional effects of music. ![]() ![]() People like to make the self-evident statement that music is an international language, but science has still not been able to provide an explanation that deconstructs the nature of this language. Music is nothing other than a series of oscillating molecules in the air. The correlation between music and emotions is not something we think about much until we consider what music really is.
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