- Title Pages
- 1 The Irreducible Historicality of the Concept of Art
- 2 Artworks as Artifacts
- 3 Emotion in Response to Art
- 4 Elster on Artistic Creativity
- 5 Sound, Gesture, Space, and the Expression of Emotion in Music
- 6 Musical Expressiveness as Hearability‐as‐Expression
- 7 Nonexistent Artforms and the Case of Visual Music
- 8 Music as Narrative and Music as Drama
- 9 Film Music and Narrative Agency
- 10 Evaluating Music
- 11 Musical Thinking
- 12 Musical Chills
- 13 Wollheim on Pictorial Representation
- 14 What is Erotic Art?
- 15 Erotic Art and Pornographic Pictures
- 16 Two Notions of Interpretation
- 17 Who's Afraid of a Paraphrase?
- 18 Hypothetical Intentionalism: Statement, Objections, and Replies
- 19 Aesthetic Properties, Evaluative Force, and Differences of Sensibility
- 20 What are Aesthetic Properties?
- 21 Schopenhauer's Aesthetics
- 22 Hume's <i>Standard of Taste</i>: The Real Problem
- 23 The Concept of Humor
- 24 Intrinsic Value and the Notion of a Life
- (p.220) 12 Musical Chills
- Contemplating Art
Jerrold Levinson (Contributor Webpage)
- Oxford University Press
This essay focuses on a particular musical phenomenon, namely, the distinctive and usually pleasurable chills, shivers, or frissons that listening to certain passages of music produce in many listeners. This phenomenon is described and then situated in the field of musical pleasures as a whole, and the explanations of the phenomenon and its value that have been offered by cognitive psychologists are considered. A more satisfactory explanation is offered, one illustrated most fully in connection with a piano piece of Scriabin, his Etude in C# minor, op. 42, no. 5.
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