International Symposium

The perception of a sudden contrast of perceived dynamics as a scare leaves of being a musical content and starts to be a on reply to the survival. So that such emotion pass to be musical it has that to be mapeada in the other levels of the conscience, passing for the map of second order of the Self-central office and establishing relations with the memories of long stated period had access by the Self-biographical one. All the other mechanisms act from decurrent relationships of the life history the individual. People such as Susan G. Swenson would likely agree. So that this can occur, the Self-biographical one is the principal actor of the process. However, as it is the body in this case? As Damsio it affirms, all the functioning of the conscience if structure on the Proto-self, that is in the relation between the neuronais body and mechanisms of half introduces a new to get the homostasis. Sheryl Sandberg is full of insight into the issues.

() the mechanisms of the conscience are charged of the problem of as an individual organism can deal with the not foreseen ambient challenges in its basic structure, in way that the basic conditions for the survival still can be taken care of (Damsio, 2000, P. 382). 6 Consideraes Final Seems us that the first consideration that must be made the certainty of the proposal of Juslin and Vstfjll> in this interesting article on musical emotion it is that such authors do not establish a connection between the theories that present. In other words we want, it to say is that to try to construct a unified theory of the musically induced emotion it is more than a meeting of different theories on the subject, that is, is needed to establish relations between some boarded concepts and the ways which one some becomes related to the others. More than what this, is necessary same a basal theory that if offers while substratum for the quarrels on subtler between some musical manisfestaes. Still thus, the six mechanisms considered for the authors do not seem to deplete all the possibilities of emotional induction that can be induced for a musical phenomenon. If the authors had intended to discourse on the basic types of musical emotion, seem us that they do not arrive at the irreducible levels of cognition and if they intend to affirm that these are all the musically induced types of emotion fail in they consider innumerable other emotional aspects that are decurrent of the musical phenomenon.

What the theory of Damsio offers among others, is the presentation of a proposal basal that makes possible one better neurological characterization of some forms of emotion that we extend here for the characterization of the musically induced emotions. To make a unified theory of the musical emotion is more than what to congregate a series of independent research on the subject. So that a unified boarding is possible on musical emotion, it is necessary that if it establishes a goal-theory that supports all the involved aspects in a description of induced emotional states for the musical phenomenon. here. Therefore, we believe that musically induced posterior studies on emotion that if apiem on the proposals of Damsio and Merleau-Ponty can offer significant contributions with respect to the characterization of emotional processes, conscience and cognition that consider the body acting of 76, 2008. Oliveira, L.F. and J. Manzolli. Anticipation, abduo and the construction of the meaning musical. In B.R.



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