Joined: Oct. 2005
||Posted: Mar. 01 2019, 19:56
It feels good to witness that what I wrote 14 years ago in this forum is being partly validated now by a neuroscientist. Well, better late than never, I would say...
"The Johnny Owl's formula and the WTF ?! Factor" - Oct. 22 2005, 17:54 - https://tubular.net/forums....;t=5534
Degree of enjoyment of a "new" MO album = WTF?! Factor / Age
Now, you will say, WTF is the WTF Factor? First of all, it's composed of two parts. In fact, the ?! notation after the WTF is chronological and should be experienced like it's written. First we have the ? (question mark) part, that is, the core of the WTF. Basically, it's that strange feeling you have when you listen to a piece of music for the first time and, in your mind, you go like "What the fuck is going on here?". Pay attention please: this feeling is totally "neutral", no good or bad feelings (yet) - I use fuck here only because I like the sound of that word and also because it adds a certain power to the sentence, no hostility involved. It's just a sensation of strangeness, like a funny taste in your mouth: the landmark of a diverse piece of music, which has the power to evolve into good or bad feelings. So, after this strange feeling, usually after a few moments, you *may* pass into the ! (exclamation point) part: here one could experience somatic sensations like thrills down the spine, cold sweat, even a lump in the throat, etc. This is definitely the sign of the goodness of a piece of music. If you reach the ! part, you just can't go wrong here: the music rocks you.
"Why Do We Love Music?" by Robert Zatorre, Ph.D. - Friday, December 28, 2018 - http://dana.org/Cerebrum/2018/Why_Do_We_Love_Music/
To give away the punch line of my article, I believe that music derives its power from an interaction between these two systems, the first of which allows us to analyze sound patterns and make predictions about them, and the second of which evaluates the outcomes of these predictions and generates positive (or negative) emotions depending on whether the expectation was met, not met, or exceeded.