著者

永岡 都 Miyako Nagaoka

出版者

昭和女子大学

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.765, pp.72-85, 2004-06

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In recent years, there has been an increased interest in the relation between music and emotion in the field of music philosophy and psychology. However, different interpretations of emotions in musical experience have generated confusion regarding the issue of musical meaning. Therefore, we must examine various interpretations of musical emotions and the mechanism by which they construct musical meaning and guide us to an understanding of musical works. In this paper, I select two important previous studies by L. B. Meyer and P. Kivy and attempt to examine their theories of how emotions are generated in musical listening and how they effect the construction of musical meaning. L. B. Meyer proposed that there are two types of musical meaning; referential and absolute, and regarded the latter as the more essential, because absolute meaning enables the process of constructing meaning in musical listening. But Meyer could not explicate the difference between absolute meaning and the emotion that is experienced as a kind of expectation in musical listening. P. Kivy considered the musical meaning in pure instrumental music and described aspects of musical emotion not described in previous studies; 'move' and 'expressive property', but there is a question with regard to his interpretation of the concept of 'emotion'.