How is it possible that music — a sequence of abstract sounds — is able to represent and evoke such strong emotions? And how is this emotional power (mis)used in our society? In this panel we will revisit the day’s preceding talks and juxtapose different viewpoints from music psychology, philosophy and ethnomusicology on music and emotion before going a step further and discussing how much power can be found within the manipulating capacities of music.
How thin is the line between appeasement, empathy and social connectedness versus manipulation, propaganda and intoxication? What is the fine difference between political statement and art? And what are the consequences for our academic but also everyday approaches to music?
Dr. Jonna Vuoskoski is a postdoctoral research fellow at the University of Oxford, Faculty of Music, where she carries out research on the psychology and cognition of music. She received her doctorate in 2012 from the University of Jyväskylä, Finland, where she was affiliated with the Finnish Centre of Excellence in Interdisciplinary Music Research.
Mats Küssner is Research Associate in the Department of Musicology and Media Studies at Humboldt University Berlin, where his research interests include multimodal perception of music, embodied music cognition, music and emotion, and performance science.
Luis-Manuel Garcia is a Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham, with previous appointments at the Max Planck Institute for Human Development (Berlin) and the University of Groningen (Netherlands).
Joel Krueger is a Lecturer in Philosophy at the University of Exeter. He works primarily in phenomenology, philosophy of mind, and cognitive science. Lately, most of his work deals with issues in embodied and extended cognition, social cognition, music cognition, and psychopathology.
Dahlia Borsche is Research Associate in the Department of Musicology and Media Studies at Humboldt University Berlin, where her research interests focus on contemporary and transcultural music processes, thereby expanding traditional discipline boundaries to the fields of sound, urban and cultural studies.