Affiliation:
1. Philosophy, University of Antwerp , Antwerp , Belgium
Abstract
Abstract
Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-inducted frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point.
Publisher
Oxford University Press (OUP)
Subject
Music,Philosophy,Visual Arts and Performing Arts
Reference65 articles.
1. “How Does Music Arouse ‘Chills’? Investigating Strong Emotions, Combining Psychological, Physiological, and Psychoacoustic Methods.”;Altenmüller;Annals of the New York Academy of Sciences,2006
2. “Natural Highs: Timbre and Chills in Electronic Dance Music.”;Auricchio,2017
3. “Distinct Varieties of Aesthetic Chills in Response to Multimedia.”;Bannister;PLoS One,2019
4. “Suppressing the Chills: Effects of Musical Manipulation on the Chills Response.”;Bannister;Frontiers in Psychology,2018
5. “Cognitive Fluency: High-Level Processing Dynamics in Art Appreciation.”;Belke;Psychology of Aesthetics Creativity and the Arts,2010