{"id":{"repo_id":"soton","oai_identifier":"oai:eprints.soton.ac.uk:192757"},"canonical_url":"https://search.dev.ndltd.org/etd/soton/oai:eprints.soton.ac.uk:192757","repository":{"repo_id":"soton","name":"University of Southampton","base_url":"https://eprints.soton.ac.uk/cgi/oai2"},"display":{"title":"Musical expression and performance","abstract":"This study examines the philosophical question of how it is possible to appreciate music<br/>aesthetically as an expressive art form. First it examines a number of general theories<br/>that seek to make sense of expressiveness as a characteristic of music that can be<br/>considered relevant to our aesthetic appreciation of the latter. These include accounts<br/>that focus on resemblances between music and human behaviour or human feelings, on<br/>music's powers of emotional arousal, and on various ways in which music may be<br/>imaginatively construed by listeners. It argues that none of these are entirely<br/>satisfactory. Then it proposes an alternative account, focusing on what is involved when<br/>our appreciation of music as an expressive art is informed by our awareness of it as<br/>something that is expressively interpreted in performance. It is claimed that this offers<br/>the basis for a better understanding of at least some aspects of expressiveness in music<br/>and its relevance to aesthetic appreciation.","abstract_html":"This study examines the philosophical question of how it is possible to appreciate music&lt;br/&gt;aesthetically as an expressive art form. First it examines a number of general theories&lt;br/&gt;that seek to make sense of expressiveness as a characteristic of music that can be&lt;br/&gt;considered relevant to our aesthetic appreciation of the latter. These include accounts&lt;br/&gt;that focus on resemblances between music and human behaviour or human feelings, on&lt;br/&gt;music&#x27;s powers of emotional arousal, and on various ways in which music may be&lt;br/&gt;imaginatively construed by listeners. It argues that none of these are entirely&lt;br/&gt;satisfactory. Then it proposes an alternative account, focusing on what is involved when&lt;br/&gt;our appreciation of music as an expressive art is informed by our awareness of it as&lt;br/&gt;something that is expressively interpreted in performance. It is claimed that this offers&lt;br/&gt;the basis for a better understanding of at least some aspects of expressiveness in music&lt;br/&gt;and its relevance to aesthetic appreciation.","abstract_has_math":false,"creators":["Humphries, Carl"],"institution":"University of Southampton","degree_name":"Ph.D.","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Ridley, Aaron"],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006-03","date_published":"2006-03","updated_at":"2026-07-24T04:36:28Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Ridley, Aaron"]},{"key":"dc:creator","label":"Author","values":["Humphries, Carl"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2006-03"]},{"key":"dc:date.issued","label":"Date","values":["2006-03"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Humanities (pre 2011 reorg)","School of Humanities"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Southampton"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://eprints.soton.ac.uk/192757/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Ph.D."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://eprints.soton.ac.uk/192757/1/00321657.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study examines the philosophical question of how it is possible to appreciate music<br/>aesthetically as an expressive art form. First it examines a number of general theories<br/>that seek to make sense of expressiveness as a characteristic of music that can be<br/>considered relevant to our aesthetic appreciation of the latter. These include accounts<br/>that focus on resemblances between music and human behaviour or human feelings, on<br/>music's powers of emotional arousal, and on various ways in which music may be<br/>imaginatively construed by listeners. It argues that none of these are entirely<br/>satisfactory. Then it proposes an alternative account, focusing on what is involved when<br/>our appreciation of music as an expressive art is informed by our awareness of it as<br/>something that is expressively interpreted in performance. It is claimed that this offers<br/>the basis for a better understanding of at least some aspects of expressiveness in music<br/>and its relevance to aesthetic appreciation."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Musical expression and performance"]}]}],"canonical_facts":{"dc:contributor.advisor":["Ridley, Aaron"],"dc:creator":["Humphries, Carl"],"dc:date":["2006-03"],"dc:date.issued":["2006-03"],"dc:description.abstract":["This study examines the philosophical question of how it is possible to appreciate music<br/>aesthetically as an expressive art form. First it examines a number of general theories<br/>that seek to make sense of expressiveness as a characteristic of music that can be<br/>considered relevant to our aesthetic appreciation of the latter. These include accounts<br/>that focus on resemblances between music and human behaviour or human feelings, on<br/>music's powers of emotional arousal, and on various ways in which music may be<br/>imaginatively construed by listeners. It argues that none of these are entirely<br/>satisfactory. Then it proposes an alternative account, focusing on what is involved when<br/>our appreciation of music as an expressive art is informed by our awareness of it as<br/>something that is expressively interpreted in performance. It is claimed that this offers<br/>the basis for a better understanding of at least some aspects of expressiveness in music<br/>and its relevance to aesthetic appreciation."],"dc:format":["text"],"dc:identifier.uri":["https://eprints.soton.ac.uk/192757/1/00321657.pdf"],"dc:publisher.department":["Humanities (pre 2011 reorg)","School of Humanities"],"dc:publisher.institution":["University of Southampton"],"dc:relation.isreferencedby":["https://eprints.soton.ac.uk/192757/"],"dc:title":["Musical expression and performance"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["Ph.D."]},"updated_at":"2026-07-24T04:36:28Z"}