The flow of music through time has the potential to elicit these moment by moment responses in us. Siegel explains that our primary emotions flow through time in tandem with our vitality effects: our heart rate, rate and quality of breathing, visceral tone, muscle tone, tone of voice, and subtle facial expressions. But our deeper emotionality exists in our primary emotions, which he defines as “dynamic processes of change… fluctuations in the integration of the energy and informational flow of the mind.” Dr. as categorical emotions, which are emotions that we neatly recognize and label in ourselves and in each other. Daniel Siegel describes happy, sad, angry, excited, etc. In The Developing Mind: How Relationships and the Brain Interact to Shape Who We Are, Dr. We don’t usually think of these moment to moment nuances as being emotional, but in reality our emotionality is much more subtle and fluid than we usually learn or talk about. The average emotion over the duration of the three to five minutes of each song may be similar, but the nuances used moment by moment to reach that particular shade of emotion are different. For example, two songs of the same musical genre may both be described as “happy” by most people, but each song achieves that “happy” effect in very different ways. That’s because each of these emotions is an average of what someone is feeling over the span of a certain amount of time. This understanding of how the mood of a song influences the qualities of our movement is only the beginning of the emotional element of musicality. Recognizing a song as happy, sad, aggressive, romantic, or calm elicits changes in the speed and quality of our movements: fast or slow, smooth or sharp, dense or sparse, quick or sustained, circular or angular. This aspect of the creative element is equally true of the emotional element: Music – by its tempo, pitch, timbre, and other qualities – evokes similar emotions in nearly all listeners (see Why The Music Moves Us), and these emotions in turn prompt us to move in particular ways. In Part 2, I discussed how we naturally and culturally correlate speed, shape, and space with sound. In fact, I will go one step further and propose that creativity is made more fully accessible by our emotionality.
Similarly with dancing, even when a creative connection with the music is reached, our musicality will feel incomplete – to ourselves and to others – without an emotional connection.
The Five Elements of Musicality, Part 3: The Emotional ElementĪ novel may contain articulate sentences and brilliant plot twists, but if it doesn’t make us care about the characters or capture some truth in a way that resonates with us, we will not consider it a good novel.
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