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On Nature, Music, And Meaning In Debussy’s Writing On JSTOR

Music and Nature are the indivisible part of every living one think of nature ,scenes of waterfall,mountains in the cloud & greenery rises in one’s eyes.Suddenly he get pleased with enchanting & eternal feeling of natureMusic plays same role in nature what nature plays in life of every living beingsWithout sound ,its meaningless to talk & think about nature they are closely related to each other. One cannot manifest a rasa if one cannot deeply feel that rasa in oneself; therefore one has to do a lot of (inter)personal work with issues of feeling and giving love, being courageous enough to be heroic, bold enough to be furious, light enough to laugh, alive enough feel disgust, sensible enough to fear, compassionate with oneself and others, young and free enough to wonder, accepting of oneself and the world enough to be tranquil, loving of one’s parents, and lastly devoted to God.

We also conducted one-tailed Fisher randomization tests (2000 iterations) between the pleasurable music and neutral music conditions in both the placebo and NTX group as we hypothesized that the pleasurable music condition will have a higher pleasurable rating and physiological response compared to the neutral music condition.

In other words, the answer to the question of the manner and extent to which music must resemble some behavioral expression in order to qualify as expressive of a particular emotion is simply ‘in whatever manner and to whatever extent leads us to experience the music as resembling the emotion’.

One problem for Kivy’s account is that he maintains both that our experience of music has ‘complete freedom from connection with our workaday world’ (1997b, 209), and that the properties of the music relevant to our experience include, ‘most importantly, its expressive properties’ (1997b, 205, original emphasis).

Though most philosophers appeal to typical experience and empirical data to reject the plausibility of Kivy’s position, they admit the problem that motivates it, namely, the conceptual tension between the nature of music and the nature of the emotions we feel in response to it. To elaborate, there is some consensus that emotions are cognitive, in the sense that they take intentional objects – they are about things – and that the nature of a given emotion’s intentional object is constrained.