Filippo Bonini Baraldi

Music and Emotions: A Field Study among Transylvanian Roma and a Few Cross-Cultural Comparisons

Introduction

Music and emotions: a field study among transylvanian roma and a few cross-cultural comparisons. Field study explores music and emotions in Transylvanian Roma, analyzing emotional behaviors and developing a model. Cross-cultural comparisons examine musical empathy.

Abstract

In the first part of this article, I analyze the emotional life of a Roma community of Transylvania by describing several performances in which participants cry along with music. This analysis results in a model showing how the relations between musical actions and emotional behaviors change according to the performance context. In the second part, I propose some theoretical questions on musical emotion by comparing my field data with those coming from other parts of the world. These revolve around notions such as “living quality of the music,” “personal tunes,” “sonic agents,” and “musical empathy.”

Review

This paper presents a compelling and timely investigation into the intricate relationship between music and emotion, specifically focusing on the under-explored context of Transylvanian Roma communities. The abstract clearly outlines a two-part approach: a detailed ethnographic analysis of emotional responses to music, particularly the phenomenon of crying during performances, followed by a broader theoretical discussion informed by cross-cultural comparisons. The proposed model for understanding how musical actions and emotional behaviors shift with performance context is a particularly intriguing aspect, promising novel insights derived from rich empirical data. A key strength lies in the depth of the field study, which grounds the analysis in specific cultural practices. The subsequent engagement with theoretical questions concerning musical emotion, leveraging concepts such as "living quality of the music," "personal tunes," "sonic agents," and "musical empathy," demonstrates an ambition to contribute significantly to the academic discourse. While the cross-cultural comparisons are briefly mentioned, the full paper would ideally elaborate on the scope and methodology of these comparisons, clarifying how the author navigates potential pitfalls of decontextualization while drawing universal or comparative insights. Further detail on the conceptual framework underpinning the "model" would also be beneficial to fully appreciate its implications. Overall, this article promises to be a valuable addition to both ethnomusicology and the broader study of human emotion. Its focus on a specific, rich cultural context, combined with a sophisticated theoretical inquiry, offers a nuanced understanding of how music functions as an emotional catalyst and mediator. The potential for the proposed theoretical concepts to reshape our understanding of musical engagement is high. Subject to a thorough exposition of the methodology for the cross-cultural comparisons and the details of the proposed model, this work is highly recommended for publication as it stands to significantly advance the field.

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