Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination.

Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he advocates an "imaginationist" solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination.

A comprehensive textbook detailing theory, practice, and research on the Bonny Method of GIM, and the many variations that have evolved since its inception. Part one provides an overview of Bonny's method and an overview of her music programs. Part two describes the many applications of GIM with children, adolescents, medical conditions, and psychological problems. Part three explains how GIM can be practiced within Jungian, psychodynamic, Gestalt, and transpersonal orientations. Part four covers advancements to Bonny's method, including an approach to client assessment, a new method of group work, new music programs, and various methods of analyzing music programs. Part five deals with theory and research on GIM. Part six deals with ethics, training, supervision, and international advances in GIM. The Appendix provides the professional code of ethics for GIM and a comprehensive list all music programs developed by Bonny and her followers.

This new volume in the Series in Affective Science is the first book in over 40 years to tackle the complex and powerful relationship between music and emotion. The book brings together leading researchers in both areas to present the first integrative review of this powerful relationship. This is a book long overdue, and one that will fascinate psychologists, musicologists, music educators, and philosophers.

Jenefer Robinson uses modern psychological and neuroscientific research on the emotions to study our emotional involvement with the arts.

The human imagination manifests in countless different forms. We imagine the possible and the impossible. How do we do this so effortlessly? Why did the capacity for imagination evolve and manifest with undeniably manifold complexity uniquely in human beings? This handbook reflects on such questions by collecting perspectives on imagination from leading experts. It showcases a rich and detailed analysis on how the imagination is understood across several disciplines of study, including anthropology, archaeology, medicine, neuroscience, psychology, philosophy, and the arts. An integrated theoretical-empirical-applied picture of the field is presented, which stands to inform researchers, students, and practitioners about the issues of relevance across the board when considering the imagination. With each chapter, the nature of human imagination is examined - what it entails, how it evolved, and why it singularly defines us as a species.

The relatively recent "worship wars" over styles of worship -- traditional, contemporary, or blended -- have calmed down, and many churches have now reached decisions about which "worship style" defines them. At a more fundamental level, however, change has yet to begin.In From Memory to Imagination Randall Bradley argues that fallout from the worship wars needs to be cleaned up and that fundamental cultural changes -- namely, the effects of postmodernism -- call for new approaches to worship. Outlining imaginative ways for the church to move forward, this book is a must-read for church leaders and anyone interested in worship music.