Introduction to a philosophy of music

By P. Kivy. 2002

199 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/260e52858facac5c0d9ab6b543aa38dc9e86c564

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Citations in the corpus

Liking unfamiliar music: Effects of felt emotion and individual differences. (2012, background): “Moreover, contemporary theoretical explanations (Kivy, 2002; Levinson, 1990; Schubert, 1996) have virtually no empirical support.”
Relationships between expressed and felt emotions in music (2008, background): “Theoretical and empirical research suggests that people generally agree on the basic emotion that a particular piece of music is expressing (Fabian & Schubert, 2003; Gabrielsson & Juslin, 1996; Hevner, 1935, 1936; Kivy, 2002).”
The emergence of music from the Theory of Mind (2009, background): “Arguably the most enduring feature of music is its capacity to communicate and induce affect, and there are abiding discussions of how and why this occurs (Gabrielsson, 2001; Kivy, 2002; Scherer, 2004).”
Enacting Musical Experience (2009, background): “…argument is this: the human quality or ‘warmth’ of music emerges from the way that the formal structure of a piece of music, its sonic pattern or ‘contour’as he also refers to it, ‘bears a structural analogy to the heard and seen manifestations of human emotive expression’ (Kivy, 2002, p. 40).”
The neuroaesthetics of music. (2013, background): “A formalist such as Hanslick would question the specificity with which these imitative characteristics of music can reliably and exclusively express particular well-defined emotional states and Kivy himself no longer defends this particular theory of how music acquires its expressive properties (Kiv”