Davies' Phenomenal Appearance View vs. Ridley's Evocation Theory of Expressiveness in Music

Davies' Phenomenal Appearance View vs. Ridley's Evocation Theory of Expressiveness in Music Introduction The concept of expressiveness in music has long fascinated scholars and musicians alike. Two prominent theories that attempt to explain how music conveys emotions are Peter Kivy's phenomenal appearance view, as presented by Stephen Davies, and Nicholas Ridley's evocation theory. In this essay, I will discuss these two theories, argue in favor of Ridley's evocation theory, and present a critique of Davies' phenomenal appearance view. Background Expressiveness in music refers to the capacity of music to communicate or evoke emotions in listeners. It is the ability of music to convey a wide range of emotional states and experiences without relying on explicit verbal or visual cues. Understanding how music achieves this emotional impact is central to unraveling the mysteries of musical expression. Davies' Phenomenal Appearance View Davies, building upon Kivy's phenomenal appearance view, argues that music possesses expressiveness by creating a "phenomenal appearance" in the listener's mind. According to this view, the emotional content of music is not derived from external sources but emerges from the subjective experience of listening. Davies posits that listeners project their own emotional states onto the music, experiencing a semblance of emotional expression in the process. Ridley's Evocation Theory Ridley's evocation theory, on the other hand, posits that music evokes emotions by triggering associations with real-world experiences or mental representations. According to this theory, music does not possess inherent emotional content but instead acts as a stimulus that taps into preexisting emotional memories or cultural associations. It is through these connections that music elicits emotional responses in listeners. Argument for Ridley's Evocation Theory While both theories offer valuable insights into the nature of expressiveness in music, Ridley's evocation theory provides a more comprehensive account. By emphasizing the role of associations and cultural contexts, Ridley's theory acknowledges the complex interplay between music and the listener's lived experiences. One strength of Ridley's theory is its ability to account for the diversity of emotional responses to music. Different listeners may have distinct emotional associations based on their unique backgrounds and cultural upbringing. For example, a piece of music that evokes feelings of nostalgia for one person may elicit feelings of joy or melancholy for another. Ridley's theory accommodates this variability by recognizing the individuality of emotional experiences. Furthermore, Ridley's emphasis on cultural associations aligns with the social and historical dimensions of music. Music is embedded within specific cultural contexts and can reflect or challenge societal norms and values. For example, a patriotic anthem can evoke feelings of pride and national identity due to its association with patriotic symbols and historical events. By considering these cultural associations, Ridley's theory provides a more nuanced understanding of how music communicates emotions. Critique of Davies' Phenomenal Appearance View While Davies' phenomenal appearance view offers an intriguing perspective on musical expressiveness, it falls short in explaining the diversity and contextuality of emotional responses to music. By placing the burden of emotional expression solely on the listener, this view neglects the role of the composer's intention and the inherent qualities of the music itself. Davies' theory fails to account for cases where composers intentionally convey specific emotions through their compositions. For instance, a composer may use dissonant harmonies, fast tempos, or abrupt changes in dynamics to elicit feelings of tension or agitation. These deliberate musical choices suggest that emotions can be embedded within the structure and composition of the music itself, rather than being solely dependent on the listener's projection. Additionally, by attributing all emotional content to the listener, Davies' view overlooks the possibility that music may possess universal emotional qualities. Certain musical features, such as slow and gentle melodies or harmonic resolutions, have been shown to consistently evoke similar emotional responses across cultures. This suggests that there might be inherent emotional properties within certain musical elements that transcend individual interpretations. Conclusion In conclusion, while both Davies' phenomenal appearance view and Ridley's evocation theory contribute valuable insights to our understanding of expressiveness in music, Ridley's theory provides a more comprehensive and nuanced account. By acknowledging the role of associations, cultural contexts, and the inherent qualities of music itself, Ridley's evocation theory presents a more holistic approach to understanding how music conveys emotions. In contrast, Davies' phenomenal appearance view overlooks important aspects such as composer intention and universal emotional qualities. By embracing Ridley's evocation theory, we can gain a deeper appreciation for the intricate ways in which music communicates and evokes emotions in listeners.  

Sample Answer