Download Free The Experimental Psychology Of Beauty By C W Valentine Book in PDF and EPUB Free Download. You can read online The Experimental Psychology Of Beauty By C W Valentine and write the review.

Originally published in 1962, the experimental study of aesthetics was a field particularly associated with the name of C.W. Valentine, who in this book provided a critical review of research carried out since the end of the nineteenth century principally by British and American psychologists. The investigations described, many of them conducted by the author, are concerned with individual responses to what is commonly regarded as beautiful in painting, music, and poetry, an important distinction being made between the perception of objects as ‘beautiful’ as opposed to ‘pleasing’. The reactions of children and adults, and of people having different ethnic and social backgrounds, are explored in a variety of experiments dealing with specific elements, including colour, form, and balance in painting; musical intervals, discord, harmony, melody, and tempo; and rhythm, metre, imagery, and associations in classical and romantic poetry. Other experiments seek to disclose the temperamental and attitudinal factors underlying individual differences in the judgement and appreciation of specific works of art. Of particular interest are the studies of responses to modern paintings, poems and musical compositions. The findings throw light on the development of discrimination and taste and suggest the possibility of some common factor in the appreciation of these three arts. It was felt that critics as well as psychologists and aestheticians would find much to encourage reflection and to stimulate further research.
Originally published in 1962, the experimental study of aesthetics was a field particularly associated with the name of C.W. Valentine, who in this book provided a critical review of research carried out since the end of the nineteenth century principally by British and American psychologists. The investigations described, many of them conducted by the author, are concerned with individual responses to what is commonly regarded as beautiful in painting, music, and poetry, an important distinction being made between the perception of objects as ‘beautiful’ as opposed to ‘pleasing’. The reactions of children and adults, and of people having different ethnic and social backgrounds, are explored in a variety of experiments dealing with specific elements, including colour, form, and balance in painting; musical intervals, discord, harmony, melody, and tempo; and rhythm, metre, imagery, and associations in classical and romantic poetry. Other experiments seek to disclose the temperamental and attitudinal factors underlying individual differences in the judgement and appreciation of specific works of art. Of particular interest are the studies of responses to modern paintings, poems and musical compositions. The findings throw light on the development of discrimination and taste and suggest the possibility of some common factor in the appreciation of these three arts. It was felt that critics as well as psychologists and aestheticians would find much to encourage reflection and to stimulate further research.
Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.
Originally published between 1928 and 1987, the volumes in this set provide an interesting look back at how psychology has developed as a discipline and some of the problems it has encountered along the way. It includes volumes focusing on the history of specific fields such as developmental and experimental psychology, as well as examining the roots of psychological theory as a whole and how it has informed many of the fields of psychology we know today.
Charles W. Valentine (1879-1964) is an important figure in the history of educational psychology. Leaving school at 17 to become a teacher, he continued to study at the same time, gaining degrees from London, Cambridge and St. Andrews. He was professor of education at the University of Birmingham in 1919 until his retirement in 1946, then president of the British Psychological Society from 1947-1948. His research covered many areas including child development, imagery, mental testing, home and classroom discipline. Out of print for many years, the Collected Works of C.W. Valentine is an opportunity to revisit many of his finest works.
In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students’ natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field. The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics. 'Part I: Foundations' explores the acoustics of sound, the auditory system, and responses to music in the brain. 'Part II: The Perception and Cognition of Music' focuses on how we process pitch, melody, meter, rhythm, and musical structure. 'Part III: Development, Learning, and Performance' describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally, 'Part IV: The Meaning and Significance of Music' explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.
Issues for 1904-47 include the Proceedings of the society.