No CrossRef data available.
Article contents
The Cognitive Element in Musical Response
Published online by Cambridge University Press: 01 January 2020
Extract
An examination of our mental state at any moment of conscious experience reveals three distinguishable aspects in the relation of the “subject” experiencing and the “object” experienced, viz.: (1) the subject becoming aware of, or knowing the object, (2) the subject being attracted or repelled (pleased or pained) by the object, and (3) the subject attending to the object. These three relations are named respectively, cognition, affection (or feeling), and attention. Though they are readily distinguishable it must not be supposed that they occur in isolation; rather, they are all present at one and the same instant, being interdependent, but varying from time to time in relative predominance. Thus, when an unfamiliar object is presented to the subject, the cognitive process is by far the most important, but at a later stage when the object has become fully determinate, affection and attention are in the ascendant, the subject ultimately doing work upon the object (that is, attending to the object)—making its own positive contribution towards a change in the subject-object relation.
- Type
- Research Article
- Information
- Copyright
- Copyright © Royal Musical Association, 1945
References
On the Nature of Musical Talent: H. Lowery. Proceedings of the Musical Association, p. 31 (1941).CrossRefGoogle Scholar
The Psychology of Musical Talent: Carl Seashore. (Silver, Burdett & Co., 1919).Google Scholar
Experimental Studies in Consonance and Rhythm: Wynn Jones. Paper read at Eighth International Congress of Psychology, Gröningen (1926).Google Scholar
Music and Philosophy: Glen Haydon (University of North Carolina, U.S.A.). Proceedings of the Royal Musical Association, p. 73 (1945).Google Scholar
The Later Works of Vaughan Williams: Frank Howes, p. 5 (Oxford University Press, 1937).Google Scholar
My Thoughts on Music and Musicians: H. Heathcote Statham, p. 1. (Chapman & Hall, 1892).Google Scholar
What is Music? H. Heathcote Statham. (Chatto & Windus, 1913).Google Scholar
The Oxford Companion to Music: Percy Scholes. (Oxford University Press. 1938).Google Scholar
The Spell of Music: J. A. Fuller-Maitland. (John Murray, 1926).Google Scholar
Modern Organ Music: G. D. Cunningham. Calendar of the Royal College of Organists, p. 282 (1935).Google Scholar
The Listener's History of Music: Scholes, vol. III, p. 10. (Oxford University Press, 1944).Google Scholar
The Beautiful in Music: Hanslick, p. 73. (Novello, 1891).Google Scholar
Bach: Rutland Boughton, p. 152, “The Music of the Masters” Series. (John Lane, The Bodley Head Ltd., 1927).Google Scholar
Studies in Modern Music: Hadow, 2 vols. (Seeley, Service & Co. Ltd., 1926).Google Scholar
Style in Musical Art: Parry. (Macmillan, 1911).Google Scholar
The Integrity of Music: Tovey. (Oxford University Press, 1941).Google Scholar
A Study in the Use of Similes for Describing Music and its Effects: Esther L. Gatewood (Chapter XIV of The Effects of Music, edited by Max Schoen). (Kegan Paul, 1927).Google Scholar
The Expression of Meanings and Emotions in Music: Melvin Rigg, Philosophical Essays, University of Pennsylvania (1942). An Experiment to Determine how accurately College Students can interpret the Intended Meanings of Musical Compositions: Melvin Rigg, Journal of Experimental Psychology, vol. 21 (1937). Speed as a Determiner of Musical Mood: Melvin Rigg, Journal of Experimental Psychology, vol. 27 (1940). What Features of a Musical Phrase have Emotional Suggestiveness? Melvin Rigg, Bulletin of Oklahoma Agricultural and Mechanical College, vol. 36 (1939).Google Scholar
Challenges: Ralph Hill, p. 12. (Joseph Williams).Google Scholar
Musical Training and Measured Musical Aptitudes: Eve Coleman. Journal of Musicology, vol. IV, p. 1 (1944).Google Scholar