* Aesthetic experience is a term that may be used to characterize a natural, personal or arts event. Aesthetic experience has been "hotly debated for thousands of years with conspicuously little progress towards consensus" (Galin, 2004, p. 251). Aesthetic experience understood in this way supports its educability, educational value, and contribution to enhancing life (Potgieter 2017). When you are present in the current moment. Three-dimensional supplies such as paper mache, paper clay and reusable modeling compounds can provide hours of fun and sometimes even astonishing results. There are several components to having an aesthetic attitude. This study was designed to investigate empirically the “aesthetic experience” as individually defined by each subject. Whether music is capable of evoking the kind of disgust Korsmeyer describes is an interesting question that need not detain us here. In addition, the influence of art education on the characteristics of aesthetic experience was also investigated. But even if disgust and revulsion are beyond music's capacities, the broader issue warrants consideration. The preface to the introduction is the realization that truly listening to music requires an active response, and this type of listening is not innate. Music educators wanted to purport a vogue aesthetic music philosophy without much individual research and subsequent application into curriculum design. Funes argues that in order to have an aesthetic experience with music, then first it is necessary to perceive music as an aesthetic object which is only possible if an aesthetic attitude is adopted. When you are fully alive. Among the various possible targets of a science of aesthetics, the study of aesthetic experience throws up particular challenges, relating to the much debated question of the scientific tractability of consciousness in general. Blurring the Line between Art and Life. The aesthetic experience is often experienced as a pleasurable and desirable experience, an experience which gives life worth and meaning. Philosophical and empirical approaches. From an early age, children are attracted to the aesthetics of music. The present paper is a critical essay which is based on Aigen's (2007, p. 127) premise that aesthetic experience involves and models processes of transformation that are necessary parts of successful music therapy. In this essay I seek to undermine scepticism about this possibility by first underlining how aesthetic experience depends on objective, quantifiable features of the world. Here we consider that the study of aesthetic responses to music could benefit from the same approach. An aesthetic experience is one in which your senses are operating at their peak. Introduction. The study of these processes where the individual perceives, under … The introduction of Donald J. Funes' book Musical Involvement addresses the topic of music as an aesthetic experience. An an-aesthetic is when you shut your senses off, and deaden yourself to what is happening. When you are resonating with the excitement of this thing that you are experiencing. The emergence of everyday aesthetics discourse parallels the increasing attempt at blurring the distinction between art and life in today’s artworld. These significant resources encouraged individuals to put their previous intuitions into effective practice using a shared, progressive concept of musical experience and learning. ... Music and Dance. 8. The surveys on looking at painting and listening to music were separately advertised online, mainly through social media (e.g., Facebook), as part of a psychological study on aesthetic experience. In this lecture I present the "Theory of Aesthetic Eigenvalues" (beauty, sublimity, event and ambivalence) in relation to music examples and paintings. The text then explores the psychological viewpoint of aesthetic development and aesthetic development in music. Musical Experience as Aesthetic. The changing concept of aesthetic experience in music education Symptoms of the philosophical: clarification of terms The fact that this article is a contribution to the field of philosophy of music education makes it difficult to fit it into traditional structures of reporting on research methods. Shusterman developed his work on aesthetic experience into ‘somaesthetics’, which he suggests can be provisionally defined as ‘the critical meliorative study of one’s experience and use of one’s body as a locus of sensory-aesthetic appreciation (aesthesis) and creative self-fashioning’. Material and Methods Participants. Using simple melodic lines, whose syntactic structure was manipulated, we created systematic acoustic dissonance. This fMRI study investigates the effect of melody on aesthetic experience in listeners naïve to formal musical knowledge. Aesthetic Experience. Thus, along with local features such as pitch, tuning, consonance/dissonance, harmony, timbre, or beat, also global sonic properties could be viewed as contributing toward creating an aesthetic musical experience. AESTHETIC EXPERIENCE AND MUSIC EDUCATION PENTTI MÀÀTTÀNEN University of Helsinki Bennett Reimer presents quite explicitly the guiding principles that he has fol-lowed in writing his book on the philosophy of music education: "It will be neces-sary to identify an aesthetic position which includes major thinkers and which Profound aesthetic experiences associated with awe—often described as a sense of wonder, amazement, fascination, or being moved and touched—have received less attention than milder states like pleasure, liking, and interest. From his premise, three basic points emerge: aesthetic experience, transformation and successful music therapy. The first is the realization that preconditioned responses limit experiences. 12 - Electronic Sound Art and Aesthetic Experience By Adinda van ’t Klooster Edited by Nick Collins , University of Durham , Julio d'Escrivan , University of Huddersfield Who tends to experience these powerful states? 30) Shusterman, Body Consciousness, p. 19. Listening to music is above all a human experience, which becomes an aesthetic experience when an individual immerses himself/herself in the music, dedicating attention to perceptual-cognitive-affective interpretation and evaluation. Check out Aesthetic Experience by Buben on Amazon Music. Although art techniques can be taught, an aesthetic art experience requires giving the child the materials and letting her experiment. Since aesthetic experience is the only way to gain true understanding of the world and existence in all its multiplicity, this means that aesthetic experience is a necessary pre-condition for making the ethical choice as outlined in the quote above, to affirm or deny the will, the “only event in itself”. Exploring the many themes and ciphers that comprise this musical community, this book interprets aesthetic resonances as a way to understand contemporary identity, politics, and social relations. From his premise, three basic points emerge: aesthetic experience, transformation and successful music therapy. Shusterman’s most important essays are “Form and Funk: The Aesthetic Challenge of Popular Art” and “The Fine Art of Rap” (both in 2000b). Stream ad-free or purchase CD's and MP3s now on Amazon.com. On the meaning of aesthetic experience in music education. It uses a series of six diverse case studies to show how these relationships can shape the experience created in the reception of music. Topics include music education, music and function, task of teachers, developmental relationships between processes or roles, and uses and misuses of developmental theories. An aesthetic experience in this commentary refers to an interaction with music. When language is connected to the music’s rhythms, the integrated experience of music and language is as creative and complex as is the experience of “high” or classical music. 2 Focusing on aesthetic experience, aesthetics is understood in this paper as a theory of aisthesis (αἴσθησις), sense perception, according to its Greek origin and following recent discussions in which the relationship between aisthesis and aesthetics is the focus and aesthetics is not limited to a theory of the beautiful as well (Welsch, 1987; Böhme, 2001). The present paper is a critical essay which is based on Aigen’s (2007, p. 127) premise that "aesthetic experience involves and models processes of transformation that are necessary parts of successful music therapy." Artistic fields are the spaces of activity in which art is produced, evaluated, and interpreted. This then resulted in music educators stressing performance rather than artistic human experience as seen in the rise of more performance oriented programs.-----1. In Tsiris’s 2008 article “Aesthetic Experience and Transformation in Music Therapy,” the author discussed Aigen’s idea that aesthetic experiences in music therapy give rise to the processes of transformation that lead to success in music therapy. A music lover, Zatorre believed that understanding how we experience music on a neurological level could lead to a better understanding of the organization and structure of the brain writ large. Is the aesthetic experience of this music primarily or wholly intellectual in nature as the cognitivist would claim, or does the listener experience the content in emotional terms through the music’s expressive qualities? This thesis explores the roles of the composer, listener and performer in the construction of aesthetic experience and develops new theories in order to elucidate these roles. In this paper I explore the structure of the aesthetic experience in order to understand how the aesthetic experience can be a positive experience.