MÚSICA, EMOCIONES Y NEUROCIENCIA

MÚSICA, EMOCIONES Y NEUROCIENCIA

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MANTRAS Y MÚSICA

MARGOT REISINGER

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Margot Reisinger ha compuesto, interpretado y producido música del mundo contemporáneo, basado en una gran diversidad de culturas. En su estilo único que reúne a artistas de una amplia gama de grupos étnicos con tradiciones musicales contemporáneos músicos occidentales para crear un entendimiento cultural en el idioma universal de la música.

Margot Reisinger es el director musical y fundador del proyecto de existencia que representa una visión de vida de la unidad y la esperanza para la paz y la libertad para toda la humanidad.

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Musicoterapia y Biomusica III parte

2 pensamientos en “MÚSICA, EMOCIONES Y NEUROCIENCIA

  1. Why do Minor Chords Sound Sad?

    The Theory of Musical Equilibration states that in contrast to previous hypotheses, music does not directly describe emotions: instead, it evokes processes of will which the listener identifies with.

    A major chord is something we generally identify with the message, “I want to!” The experience of listening to a minor chord can be compared to the message conveyed when someone says, «No more.» If someone were to say the words «no more» slowly and quietly, they would create the impression of being sad, whereas if they were to scream it quickly and loudly, they would be come across as furious. This distinction also applies for the emotional character of a minor chord: if a minor harmony is repeated faster and at greater volume, its sad nature appears to have suddenly turned into fury.

    The Theory of Musical Equilibration applies this principle as it constructs a system which outlines and explains the emotional nature of musical harmonies. For more information you can google Theory of Musical Equilibration.

    Bernd Willimek

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