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音乐、情感、方法、数据:关于卡罗尔与基维之争的思考

Music, affect, method, data: reflections on the Carroll versus Kivy debate.

作者信息

Konecni Vladimir J

机构信息

Department of Psychology, University of California, San Diego, La Jolla, CA 92093-0109, USA.

出版信息

Am J Psychol. 2013 Summer;126(2):179-95. doi: 10.5406/amerjpsyc.126.2.0179.

DOI:10.5406/amerjpsyc.126.2.0179
PMID:23858952
Abstract

The comprehensive exchange between Noel Carroll and Peter Kivy, which took place in 2007, addressed key issues in the relationship between music and affect. More than in any prior philosophical debate on this topic, experimental psychologists' methods and data played a significant role. However, to a nontrivial extent, the findings-perhaps especially the dubious-were misconstrued or misused, usually without acknowledging the existence of contrary data-based opinion within the psychology of music itself. Therefore, one objective of the present article is to identify the specific problematic features and shed light on the broader context shared by the two disciplines. A complementary goal is to examine contributions to philosophers' transgressions by music psychologists' insufficiently conscientious reporting, frequent overgeneralizations, and unawareness of philosophers' critical arguments. Another objective is to examine the current status of key concepts-the relevant music, basic emotions, mood, expression, induction, movement and dance, and methods (including introspection and experimental procedures)-thus perhaps enabling the discussion of music and affect to proceed with fewer misunderstandings. Finally, the article moves beyond the initial debate and builds on a remarkable agreement of philosophical and psychological opinion on a key issue (the induction of non-basic emotions by absolute music) to reach a new conceptual ground.

摘要

诺埃尔·卡罗尔(Noel Carroll)和彼得·基维(Peter Kivy)于2007年进行的全面交流探讨了音乐与情感关系中的关键问题。与以往关于该主题的任何哲学辩论相比,实验心理学家的方法和数据发挥了重要作用。然而,在很大程度上,这些发现——或许尤其是可疑的那些——被误解或滥用了,而且通常没有承认音乐心理学内部存在基于相反数据的观点。因此,本文的一个目标是识别具体的问题特征,并阐明这两个学科共有的更广泛背景。一个补充目标是审视音乐心理学家不够严谨的报告、频繁的过度概括以及对哲学家批判性论点的忽视对哲学家越界行为所起的作用。另一个目标是考察关键概念的当前状况——相关音乐、基本情感、情绪、表达、诱导、动作与舞蹈以及方法(包括内省和实验程序)——从而或许能使关于音乐与情感的讨论在较少误解的情况下进行。最后,本文超越了最初的辩论,并基于哲学和心理学在一个关键问题(纯音乐对非基本情感的诱导)上的显著共识,达成了一个新的概念基础。

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引用本文的文献

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Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change.对音乐的情感反应:额叶脑不对称性的变化标志着音乐变化的阶段。
Front Psychol. 2017 Dec 4;8:2044. doi: 10.3389/fpsyg.2017.02044. eCollection 2017.