Emotion and Meaning in MusicUniversity of Chicago Press, 1956 - 307 páginas "Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review |
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Página 46
... Western listener still a sound term , since the sound stimulus is heard within the prevalent style of Western music . As we shall see , almost all studies in comparative musicology emphasize that the same sound stimulus often has ...
... Western listener still a sound term , since the sound stimulus is heard within the prevalent style of Western music . As we shall see , almost all studies in comparative musicology emphasize that the same sound stimulus often has ...
Página 197
... music : from folk music , primitive music , jazz , oriental music , as well as from the music of Western Europe . The very diversity of the musical style systems that can be used as evi- dence increases the probability that the ...
... music : from folk music , primitive music , jazz , oriental music , as well as from the music of Western Europe . The very diversity of the musical style systems that can be used as evi- dence increases the probability that the ...
Página 267
... Western music would be different . This is important because it allows for and accounts for variation in mood expression between the music of different cultures . That is , different cultures may communicate moods and sentiments in very ...
... Western music would be different . This is important because it allows for and accounts for variation in mood expression between the music of different cultures . That is , different cultures may communicate moods and sentiments in very ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF Good | 83 |
Página de créditos | |
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Términos y frases comunes
A-flat A. M. Jones accented aesthetic experience affective aesthetic affective experience ambiguous amphibrach anacrusis anapest architectonic level arise arouse articulation aspects basic beat become behavior C. P. E. Bach changes chord chromatic chromaticism complete composer connotation consonance and dissonance context continuation create culture Curt Sachs delay deviation diatonic differentiation discussed embellishment emotional established example expectations fact feeling folk music Gestalt give rise harmonic iamb Ibid important incomplete inhibited instance involves jazz law of return listener listener's meaning measure melodic mental meter metric levels mind minor mode mood motion motor musical experience musical processes musical stimuli norms notes organization ornamentation particular passage pattern perception performer phrase pitch play present probability progression psychological rāgas relationships repetition rhythm rhythmic sense sequence shape sonata sound term stimulus situation structural gaps style system stylistic tend tendency tension texture theme theory tion tonal tones tonic triad trochaic uniformity Western music