Sunday 14 March 2010

Longer, thus more boring

A MUSICAL ROLLERCOASTER

‘Music is the art which is most nigh to tears and memory’ proclaimed Oscar Wilde in 1891. Whether this covered the self-inflicted pain of listening to music to induce tears and helplessness was left unsaid. If you were in pain or discomfort, would it cross your mind to do something that would exacerbate the situation? If you stubbed your toe, would you then hobble to the toolbox to retrieve a hammer with which you could hit it, to make it hurt just that little bit more? Clearly, this would neither assist the situation, nor induce a calmness to deal with it. So, why do we do it? Why do we listen to those songs that take us to an emotional place that, given the opportunity, we would not choose to revisit in person?

Many theories regarding ‘musical expression’ exist, and the title of such research speaks volumes. Perhaps we are listening to these expressive songs as an outlet: an emotional purge. Are we unable to vent these emotions without an aid? Maybe sitting on a doorstep, listening to an emotive song is a therapeutic outlet for emotions that would otherwise remain festering inside. ‘There is no doubt that [people] can be profoundly moved by perceiving, performing, or imagining music, and consequently music must touch on something in their emotional life that brings them into this state of excitation’ states Paul Hindemith- composer and author of ‘A Composer’s World: Horizons and Limitations’- before continuing ‘but if these mental reactions were feelings, they could not change as rapidly as they do, and they would not begin and end with the musical stimulus that aroused them’. This implies that an emotional change when listening to music is not real: merely a temporary and false expression of nothing more than a reaction. ‘We often catch the emotional ambience of our environment or of those around us’ argues Stephen Davies-‘Infectious Music: Music-Listener Emotional Contagion’- and that similarly, when listening to music, the emotion exuded through the music is infectious, similar to that of a bad feeling, fear or excitement in a crowd. Is it that we feel an empathy with the artist who has written, or is singing, the song? Perhaps we find it comforting that someone else is experiencing the same pain as we are, and that person is able to express his or her feelings in a way that we are unable, thus enabling us to ‘reflect’ our emotions upon theirs? Jerrold Levinson-‘Music and Negative Emotion’-states that our emotional response to music ‘mirrors’ that of a response to a real emotional situation, yet the ‘music-emotion’ differs to a real emotion in that it is not directed at an actual object. An arguably more direct theory from Colin Radford-author of ‘Emotions and Music: A Reply to the Cognitivists’-states that ‘listening to sad music does make people sad. To deny this is itself paradoxical because it involves the cognitivist maintaining that when people say this is what happened, they are mistaken’. So, when you find yourself turning into a quivering, sobbing wreck each time you hear the rousing opening bars of that song you call ‘your song’, you could perhaps argue that the emotions are real, the moment is real, and not simply a weak, empty reaction to something that, essentially, means nothing.

Additionally, we use music to motivate ourselves; we generally listen to upbeat songs whilst we undertake physical tasks, such as vacuuming and working-out, whilst we tend to err on the side of the more down-tempo song for those evenings when we turn the lights down low and indulge in a relaxing bubble bath. Swap the genres around, and we may find that the housework takes a lot longer than anticipated, the work-out is not quite as exerting as we had hoped, and the relaxing bubble bath turns into a pre-cursor for a night out ‘on the town’.

The aforementioned theories reflect the reality that we do feel emotion in music. We listen to the lyrics and feel the beat of the song, we use it to vent our own feelings, to reflect our pain onto something that can absorb it, mix it up, and spit it back out at us using sounds and words that we have not contemplated, or are unable to express. We know that our brains react to music, yet we cannot definitively test our cognitive reactions to emotive music, simply because the areas that would be aroused in our brains during such a study could potentially be reacting to something else-to a thought, a memory, a hope, or even a fear.

Consider that perhaps ALL these theories are correct: consider that, as Hindemith theorised, the emotions are experienced, yet are not real: a sort of play-acting. This in itself could be a therapeutic outlet for an emotion hidden inside, and as much as faking a smile cheers one up, perhaps exhibiting a ‘music-emotion’ could, in fact, be a coping strategy for those unable to vent their sadness at particular life events. Consider it a bonus that these emotions are short-lived, for as quickly as you can turn off the song, you can carry on with your daily life, and with the bonus of a weight of the ‘tears and memory’ removed from your shoulders.





Location:Lower Park Rd,Hastings,United Kingdom

Friday 12 March 2010

Oh dammit

Bloody article isn't bloody long enough. Bloody hell. Excuse the language.



Location:Lower Park Rd,Hastings,United Kingdom

Wednesday 10 March 2010

Assignment 2

I have been far too busy and important to blog, due to writing the following pile of words. I am still unsure whether or not they make sense, but have submitted it for marking anyway:

A MUSICAL ROLLERCOASTER

‘Music is the art which is most nigh to tears and memory’ proclaimed Oscar Wilde in 1891. Whether this covers the self-inflicted pain of listening to music to induce tears and helplessness is left unsaid. Generally, when a human being is in pain or discomfort, the last thing they would consider doing is something to exacerbate the situation. If a stubbed toe were throbbing, hitting it with a hammer would neither assist the situation, nor induce a calmness to deal with it. So, why do we do it? Why do we listen to those songs that take us to an emotional place that, given the opportunity, we would not choose to revisit in person?

Many theories regarding ‘musical expression’ exist, and the title of such research speaks volumes. Perhaps we are listening to these expressive songs as an outlet: an emotional purge. Are we unable to vent these emotions without an aid? Maybe sitting on a doorstep, listening to an emotive song is a therapeutic outlet for emotions that would otherwise remain festering inside. ‘There is no doubt that [people] can be profoundly moved by perceiving, performing, or imagining music, and consequently music must touch on something in their emotional life that brings them into this state of excitation’ states Paul Hindemith- composer and author of ‘A Composer’s World: Horizons and Limitations’- before continuing ‘but if these mental reactions were feelings, they could not change as rapidly as they do, and they would not begin and end with the musical stimulus that aroused them’. This implies that an emotional change when listening to music is not real: merely a temporary and false expression of nothing more than a reaction. ‘We often catch the emotional ambience of our environment or of those around us’ argues Stephen Davies-‘Infectious Music: Music-Listener Emotional Contagion’- and that similarly, when listening to music, the emotion exuded through the music is infectious, similar to that of a bad feeling, fear or excitement in a crowd. Jerrold Levinson-‘Music and Negative Emotion’-states that our emotional response to music ‘mirrors’ that of a response to a real emotional situation, yet the ‘music-emotion’ differs to a real emotion in that it is not directed at an actual object. These theories reflect the reality that we feel emotion in music. We use it to vent our own feelings, to reflect our pain onto something that can absorb it, mix it up, and spit it back out at us using sounds and words that we had not contemplated, or were unable to express.

Consider that perhaps ALL these theories are correct: consider that, as Hindemith theorised, the emotions are experienced, yet are not real: a sort of play-acting. This in itself could be a therapeutic outlet for an emotion hidden inside, and as much as faking a smile cheers one up, perhaps exhibiting a ‘music-emotion’ could, in fact, be a coping strategy for those unable to vent their sadness at particular life events. Consider it a bonus that these emotions are short-lived, for as quickly as you can turn off the song, you can carry on with your daily life, and with the bonus of a weight of ‘tears and memory’ removed from your shoulders.
------------------------------------------

There are references here re quoted research, but they don't like being copied and pasted.

Wibble.

PS. I am soooooo not in Broomgrove Road.









Location:Broomgrove Rd,Hastings,United Kingdom

Friday 5 March 2010

Excellent gadgetry

Look:

- Posted using BlogPress from my iPhone

Posted from my iPhone! Woohoooooooo.



Thursday 4 March 2010

Stalking

I have email stalked the agent again. At the end of this post I shall extend the ellipse to indicate the number of years I expect to wait until I receive a reply. Cynic? Me? Here goes.....................................................................I think I will have received a telegraph from the Queen by this time.

Procrastinating

...I need to stop doing that. Perhaps I will stop tomorrow.

Karina

Wednesday 3 March 2010

Deep, dark depths

I have inadvertently found myself wading through the depths of music psychology research. I'm not sure whether to keep wading, or make things up.

Pet hate of the day...none.

Funniest thing said today (by myself-how arrogant);

Sergeant-'I don't think I'd want to eat cannabis'

Me-'Why don't you lick the grinder out?'
Pause for comic effect

'That's not my nickname, by the way'.

Oh, I'm wasted in custody.

Tuesday 2 March 2010

Research

I have not yet decided whether or not research is fun. This is because I cannot find any studies on why people listen to sad music when they are feeling sad already. Possibly a rather narrow area to research, but important nonetheless. I wonder whether a survey of my Facebook friends would provide me with a vast enough cross section of society to merit a definition of 'research', as opposed to 'casual and enforced questioning of like-minded people'. Hmmmmm. Quandary.

Monday 1 March 2010

Selling my soul

I feel dejected and almost rejected, due to crazy agent ignoring me for 3 months. I am fully aware that it is wrong to stalk people, but I am sorely tempted. Why ask for a full manuscript if not prepared to say yay or nay? I am comforted with the suspicion that aforementioned agent was so excited (not sexually) by my submission that he has suffered a heart attack, and is currently planning his escape from ITU. I might email him again...