An empirical study of imaginative responses to music.

part I|100 pages

“Listeners” and “Hearers”

chapter I|2 pages

Varieties of Musical Experience

chapter II|24 pages

What is “Listening”?

chapter III|10 pages

The Emotion of Music

chapter V|20 pages

“Ancestors of Emotion”

chapter VI|11 pages

Emotion of Music Versus Emotional Music

chapter VII|10 pages

Aesthetic Contemplation (“Higher Planes”)

chapter VIII|8 pages

Active and Passive Attention

chapter IX|5 pages

Epilogue to “Listeners”

part II|136 pages

Emotional Responses

chapter I|12 pages

The Powers of Sound

chapter II|6 pages

Cecilia and “Cecilians”

chapter III|9 pages


chapter V|9 pages

Intermittence and Evocation

chapter VII|19 pages

Affective Memory: Ribot’s Hypothesis

chapter VIII|10 pages

Reference to Human Personality

chapter X|11 pages

“Evocation of Past and Future”

chapter XI|12 pages

Introduction to “Dionysiacs”

chapter XII|17 pages


part III|136 pages

Imaginative Responses

chapter VI|16 pages

The Imaginary Composer

chapter VII|16 pages

The Power of Words

chapter VIII|10 pages

Interpretation by Equivalence

chapter IX|9 pages

Suggestion by Movement

chapter X|4 pages

Interpretation by “as if . . . .”

chapter XI|20 pages

Interpretation as Allegory

chapter XII|10 pages

Interpretation as Drama

part IV|50 pages

Has Music a “Meaning”? (Collective Experiments)

chapter |48 pages

Some Results of Collective Experiments

part V|44 pages

The Composer’s Phenomenon

chapter I|11 pages

Translation Into Music

chapter II|12 pages

Divided Attention

chapter III|10 pages

Aesthetic Integration

chapter IV|9 pages


part VI|38 pages

How Music Comes Into Our Lives

chapter I|3 pages

The State of Aesthetic Contemplation

chapter II|18 pages

Myself as Corpus Vile

chapter IV

Being Attuned to . . .

part VII|24 pages

“De Gustibus . . .”

chapter I

Some Preferences Classified

chapter II|22 pages

“. . . Non Est Disputandum”

part VIII|14 pages

“Beyond Good and Evil”

chapter |11 pages

“Beyond Good and Evil”