![]() ![]() Having arrived at a satisfactory operational definition of musical frissons, we will transition into a less abstract discussion of the sensation, roughly dividing its manifestations into the physical and the socio-cultural, interspersed with their respective relations to the emotional. We begin by examining the murky, but understatedly consequential issue of nomenclature: what is a transcendent, psychophysiological moment of musical experience, and how does its lexical treatment fit into popular and academic discourse? How have researchers described this sensation thus far? Which terms work and which fall short? To answer these questions, we draw from the fields of cognitive neuroscience, phenomenology, psychology, and ethnomusicology, each of which comprises a corollary component to the study of music and emotions. The relevant literature reviewed here is particularly interesting for its necessarily multidisciplinary nature (with inroads into neuroscience, psychology, ethnomusicology, and music analysis) as well as its unavoidable subjectivity in defining these intensely personal experiences. In trying to describe and test this sensation, we will attempt to clarify the terminology and elaborate on some major pieces of evidence regarding the types of musical movements that elicit transcendent physical experiences. The present article is about that moment when music resonates so deeply and viscerally as to elicit a physical, bodily response.
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