Towards a Typology of Surprise in Organ Music
Palabras clave:
music for organ, music perception, music psychology, surprise, emotion
Resumen
The current article is dedicated to the emotion of surprise in music. It is a part of a wider research on the musical surprise and its role in the aesthetical perception. The main aim of this work is to explore the origins of musical surprise with the purpose of developing a typology of this emotion in organ music. Based on the analysis of harmony, melody, rhythm, and dynamics of some musical compositions, an attempt is made to distinguish the features of the musical text that contribute to the arousal of the emotion of surprise. Furthermore, we inquire into the emotion of surprise induced in the studied cases and
conclude that there exist three types of musical surprise.
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Citas
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Huron, D. (2019). Musical Aesthetics: Uncertainty and Surprise Enhance Our Enjoyment of Music. Current Biology, 29(23), R1238-40. https://doi.org/10.1016/j.cub.2019.10.021
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Rosner, B. S., and Narmour, E. (1992). Harmonic Closure: Music Theory and Perception. Music Perception, 9(4), 383–411. https://doi.org/10.2307/40285561
Surprise (n.d.). Cambridge Dictionary. Cambridge University Press & Assessment. Retrieved from https://dictionary.cambridge.org/us/dictionary/english/surprise
Vierne, L. (1931). 6ème symphonie pour orgue, op. 59. Paris: Henry Lemoine.
Wedgwood, J. I. (1905). A comprehensive dictionary of organ stops: English and foreign, ancient and modern, practical, theoretical, historical, aesthetic, etymological, phonetic. London: The Vincent Music Company Limited.
Wittgenstein, L. (2007). Lectures and Conversations on Aesthetics, Psychology, and Religious Belief. Edited by C. Barrett. Berkeley: University of California Press.
Bach, J. S. (1984). Sechs sonaten [scheet music]. Edited by Dietrich Kilian, Neue Bach-Ausgabe IV(7). Kassel: Bärenreiter Verlag.
Bruhns, N., and Brunckhorst, A. M. (n.d.). Complete Organ Works [scheet music]. Edited by Beckmann K., Masters of the Nother German School for Organ (13). Mainz: Schott.
Eberlin J. E. (1747). IX Toccate e fughe per l’organo... [partitura]. Augsburg: Eredi di Giovanni Giacomo Lotter.
Galimberti, U. (2018). Nuovo dizionario di psicologia: psichiatria, psicoanalisi, neuroscienze. Milano: Feltrinelli.
Huron, D. (2019). Musical Aesthetics: Uncertainty and Surprise Enhance Our Enjoyment of Music. Current Biology, 29(23), R1238-40. https://doi.org/10.1016/j.cub.2019.10.021
Juslin, P. N. (2019). Musical Emotions Explained: Unlocking the Secrets of Musical Affect. Oxford: Oxford University Press.
Marchand, L. (1740). Pièces choisies pour l’orgue de feu le grand Marchand... Livre premier... Paris: Mme Boivin.
Nattiez, J.-J. (1998). Il discorso musicale: per una semiologia della musica. Torino: Einaudi.
Rosner, B. S., and Narmour, E. (1992). Harmonic Closure: Music Theory and Perception. Music Perception, 9(4), 383–411. https://doi.org/10.2307/40285561
Surprise (n.d.). Cambridge Dictionary. Cambridge University Press & Assessment. Retrieved from https://dictionary.cambridge.org/us/dictionary/english/surprise
Vierne, L. (1931). 6ème symphonie pour orgue, op. 59. Paris: Henry Lemoine.
Wedgwood, J. I. (1905). A comprehensive dictionary of organ stops: English and foreign, ancient and modern, practical, theoretical, historical, aesthetic, etymological, phonetic. London: The Vincent Music Company Limited.
Wittgenstein, L. (2007). Lectures and Conversations on Aesthetics, Psychology, and Religious Belief. Edited by C. Barrett. Berkeley: University of California Press.
Publicado
2024-05-20
Cómo citar
Zubova, N. (2024). Towards a Typology of Surprise in Organ Music. SituArte, 17(30), 30-37. Recuperado a partir de https://produccioncientificaluz.org/index.php/situarte/article/view/42118
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