Bio: Michael Frueh is an academic researcher. The author has contributed to research in topics: Everyday life. The author has an hindex of 1, co-authored 1 publications receiving 420 citations.
Topics: Everyday life
01 Jan 2016
TL;DR: It is argued that musical affordances enhance the functionality of various endogenous, emotion-granting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal character and ought to be thought of as part of the vehicle needed to realize these emotional experiences.
Abstract: I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances—via soliciting different forms of entrainment—enhance the functionality of various endogenous, emotion-granting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal character. I suggest that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea.
TL;DR: In this article, the authors adopt Sterelny's framework of the scaffolded mind, and his related dimensional approach, to highlight the many ways in which human affectivity (and not just cognition) is environmentally supported.
Abstract: In this paper we adopt Sterelny's (2010) framework of the scaffolded mind, and his related dimensional approach, to highlight the many ways in which human affectivity (and not just cognition) is environmentally supported. After discussing the relationship between the scaffolded-mind view and related frameworks, such as the extended-mind view, we illustrate the many ways in which our affective states are environmentally supported by items of material culture, other people, and their interplay. To do so, we draw on empirical evidence from various disciplines (sociology, ethnography, and developmental psychology), and develop phenomenological considerations to distinguish different ways in which we experience the world affectively.
TL;DR: Following Kant’s definition, it is proposed that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation.
Abstract: This is the first comprehensive theoretical article on aesthetic emotions. Following Kant's definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Each aesthetic emotion is tuned to a special type of perceived aesthetic appeal and is predictive of the subjectively felt pleasure or displeasure and the liking or disliking associated with this type of appeal. Contrary to the negativity bias of classical emotion catalogues, emotion terms used for aesthetic evaluation purposes include far more positive than negative emotions. At the same time, many overall positive aesthetic emotions encompass negative or mixed emotional ingredients. Appraisals of intrinsic pleasantness, familiarity, and novelty are preeminently important for aesthetic emotions. Appraisals of goal relevance/conduciveness and coping potential are largely irrelevant from a pragmatic perspective, but in some cases highly relevant for cognitive and affective coping. Aesthetic emotions are typically sought and savored for their own sake, with subjectively felt intensity and/or emotional arousal being rewards in their own right. The expression component of aesthetic emotions includes laughter, tears, and facial and bodily movements, along with applause or booing and words of praise or blame. Aesthetic emotions entail motivational approach and avoidance tendencies, specifically, tendencies toward prolonged, repeated, or interrupted exposure and wanting to possess aesthetically pleasing objects. They are experienced across a broad range of experiential domains and not coextensive with art-elicited emotions. (PsycINFO Database Record (c) 2019 APA, all rights reserved).
TL;DR: A considerable body of research and scholarship is discussed that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors, and ways in which to connect and make sense of this disparate evidence (and counter-evidence).
Abstract: In the age of the Internet and with the dramatic proliferation of mobile listening technologies, music has unprecedented global distribution and embeddedness in people's lives. It is a source of intense experiences of both the most intimate and solitary, and public and collective, kinds - from an individual with their smartphone and headphones, to large-scale live events and global simulcasts; and it increasingly brings together a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and home music-making that circulates via YouTube. For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. At the same time, there has been increasing interest in music's communicative and affective capacities, and its potential to act as an agent of social bonding and affiliation. This review critically discusses a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to cultural musicology and the sociology and anthropology of music, that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors; and explores ways in which to connect and make sense of this disparate evidence (and counter-evidence). It reports the outcome of an empirical study that tests one aspect of those claims, demonstrating that 'passive' listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy; presents a model that brings together the primary components of the music and empathy research into a single framework; and considers both some of the applications, and some of the shortcomings and problems, of understanding music from the perspective of empathy.
TL;DR: In this paper, it has been argued that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors, including positive emotion, engagement, relationships, meaning, and accomplishment.
Abstract: In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive...