But philosophers whose views have been summarized up to now were not talking as philosophers of music. Music involved them in phrases extrinsic to itself, in its observable results; in its connections with dance, non secular ritual, or festive rites; due to its alliance with phrases; or for some other extramusical consideration. The solely frequent denominator to be found, except for the popularity of different sorts of music, is the acknowledgment of its connection with the emotional life, and here, to make certain, is that problematic power of the art to move. Various extramusical preoccupations are the raison d’être of “contextualist” explanations of music, that are concerned with its relation to the human environment. The history of music itself is largely an account of its adjunctive perform in rituals and ceremonies of all kinds—religious, army, courtly—and in musical theatre. Experiences of looking at portray and listening to music had been also differentiated by self-reported motivation. Relatively extra participants reported that self-education motivated them to take a look at painting.

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