&c

A relation of content may be mere reflection, but a relation of structure, often occurring where there is no apparent relation of content, can show us the organizing principle by which a particular view of the world, and from that the coherence of the social group which maintains it, really operates in consciousness.

Whatever might ‘cause’ an emotion – and the roots of the causes of emotion are a source of debate – once it gets going, it isn’t just a thought process. Emotion is meaty and full of pumping hormones and breath pattern alterations and gestures and rushes of fluid. Chemicals get released. Chemicals get washed away. Heart rates speed up and slow down. Our breath rises and falls and its patterns change. Digestion patterns speed up or slow down or get interrupted. What happens in the body affects the body. What happens in the body affects the voice.

…music has – indeed, music arguably is – the capacity to create a set of common affects, enabling otherwise disparate bodies to resonate in harmony, with political consequences that can be either progressive or reactionary depending on circumstances.

…just consider how much is conveyed by the tone of a voice, irrespective of the semantic content that it carries. The precise corporeal-emotional charge conveyed from one body to another by the relative tension of mouth and vocal chords is exactly what the term ‘affect’ best designates, and this is also exactly what the ‘grain of the voices’ confers. It is clear enough that affect is precisely music’s domain, while music is the cultural practice which deals most directly in the production, orchestration, repetition and interruption of affects.