Musical Composition, Theory and Songwriting/how to pull emotions from chords

Advertisement


willimek wrote at 2013-11-06 15:10:10
Music and Emotions



The most difficult  problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can't convey any emotion at all, but merely volitional processes, with which the music listener identifies. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.



Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.



But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called "lead", "leading tone" or "striving effects". If we reverse this musical phenomena in imagination into its opposite (not the sound wants to change - but the listener identifies with a will not to change the sound) we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.



Further information is available via the free download of the e-book "Music and Emotion - Research on the Theory of Musical Equilibration:



www.willimekmusic.de/music-and-emotions.pdf



Enjoy reading  


willimek wrote at 2013-12-23 15:06:49
Music and Emotions



The most difficult  problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can't convey any emotion at all, but merely volitional processes, the music listener identifies with. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.



An example: If you perceive a major chord, you normally identify with the will "Yes, I want to...". If you perceive a minor chord, you identify normally with the will "I don't want any more...". If you play the minor chord softly, you connect the will "I don't want any more..." with a feeling of sadness. If you play the minor chord loudly, you connect the same will with a feeling of rage. You distinguish in the same way as you would distinguish, if someone would say the words "I don't want anymore..." the first time softly and the second time loudly.

Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.



But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called "lead", "leading tone" or "striving effects". If we reverse this musical phenomena in imagination into its opposite (not the sound wants to change - but the listener identifies with a will not to change the sound) we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.



Further information is available via the free download of the e-book "Music and Emotion - Research on the Theory of Musical Equilibration:



www.willimekmusic.de/music-and-emotions.pdf



or on the online journal EUNOMIOS:



www.eunomios.org



Enjoy reading



Bernd Willimek




Musical Composition, Theory and Songwriting

All Answers


Answers by Expert:


Ask Experts

Volunteer


Bill Pere

Expertise

Can answer questions on : Technical aspects of lyric and music compostion; How to give and receive objective critique; Arranging and production; Concrete vs abstract imagery; Use of metaphor; Rhyme techniques; Song Structure; Collaboration; Songwriter Associations; Promotion; Guitar technique; Music Business;

Experience

Grammy-Award-winning songwriter; President of the Connecticut Songwriters Association and Director of the Connecticut Songwriting Academy; Named one of the Top 50 Innovators and Guiding Lights of the Music Industry in 2008 by Music Connection Magazine; Author of "Songcrafters' Coloring Book:The Essential Guide to Effective and Successful Songwriting." Named Independent Artist of the Year,by the 2003 national Independent Music Conference; 30 years as a professional singer-songwriter; 16 original CD's released;
Have had songs placed on other artists' CD's. Twice named Connecticut Songwriter of the Year.
20 years as Executive Director of the LUNCH Ensemble. Have attended more than 200 presentations by top industry professionals and have critiqued thousands of songs. Have written and produced dozens of stage plays and hundreds of concert events; Have coached hundreds of aspiring songwriters, and collaborated with several award winning writers. Have written commissioned songs as an Official Connecticut State Troubadour. Music Director of youth choirs and music camps.

Organizations
Connecticut Songwriters Association (President); LUNCH Ensemble (Local United Network to Combat Hunger -- Exec, Director); CMEA (Connecticut Music Educators Association); Folk Alliance; Association For Psychological Type; Songsalive; WE R Indie; Creative Songwriting Academy;

Publications
Songcrafters' Coloring Book: The Essential Guide to Effective and Succesful Songwriting Songwriters Market (2001, 2002); Connecticut Songsmith; Contemporary Songwriter Magazine; Songwriters Musepaper;
Songcrafter's Coloring Book;   Strategies for Teaching Guitar;

Education/Credentials
Masters Degree Molecular Biology; Certified MBTI Practitioner (Myers Briggs Type Indicator); Connecticut Secondary Public School Teaching Certificate; Author: "Songcrafters' Coloring Book: The Essential Guide to Effective and Successful Songwriting"

Awards and Honors
2012 Grammy; Named one of the Top 50 Innovators and Guiding Lights of the Music Industry in 2008 by Music Connection Magazine; Independent Artist of the Year, (2003 national Indie Conference); Official Connecticut State Troubadour, appointed by CT Commission on the Arts, 1995 ; 1982 and 1992 CT Songwriter of the Year; 2000 Award for 20 years of Outstanding Service to Songwriters;
2002 CSA Award for Outstanding Contribution to Education through Music; Numerous awards for outstanding community outreach through music; 1997 Citation from Connecticut Legislature for exemplary dedication to community outreach through music. 1995 Renaissance Award for multiple music achievements in a single year.   Invited Presenter and Mentor at various Music Conventions

©2016 About.com. All rights reserved.