ABSTRACT Theorists of music and emotion have come to recognise a wide range of aesthetic and non‐aesthetic situations in which music serves as a vehicle, or a trigger, or a catalyst, for emotional experience. In this essay I focus on aesthetically warranted emotions (AWEs) as real, measurable emotions that are directly motivated by stylistically competent interaction with composed expressive trajectories (CETs). Through a close interpretation of the exposition of the second movement of Mozart's Piano Sonata in F, K. 533, I explore five central issues: (1) the role of marked musical gestures and stylistically unmarked alternatives in reconstructing and interpreting CETs; (2) the affordance of prior emotional experience for an individual's complete cognitive understanding of CETs; (3) whether or not one need actually experience AWEs in order to cognitively understand and appreciate CETs; (4) whether emotional engagement need always be congruent with, or isomorphically constrained by, CETs in order to qualify as AWEs; and (5) the status of AWEs, and our cognition of them, as multi‐levelled and integrative, synthetic and emergent, and varying in intensity.
Stored only when both papers are in the corpus — 9 citations exist upstream.
Imported from OpenAlex (CC0) — nothing here is generated.