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 |
Dentro del libro
Resultados 1-3 de 5
Página 109
... anacrusis to the group , the accent must be heavily stressed so that the afterbeat does not become grouped with the anacrusis , that is , so that the amphibrach organization does not become an anapest one ' These observations as to the ...
... anacrusis to the group , the accent must be heavily stressed so that the afterbeat does not become grouped with the anacrusis , that is , so that the amphibrach organization does not become an anapest one ' These observations as to the ...
Página 149
... anacrusis , to the complete thematic statement which be- gins at measure 45 and extends through measure 66. Seen in this light , the significance and importance of the two introductory meas- ures also become clear . For they not only ...
... anacrusis , to the complete thematic statement which be- gins at measure 45 and extends through measure 66. Seen in this light , the significance and importance of the two introductory meas- ures also become clear . For they not only ...
Página 172
... anacrusis , the first rhythmic group is per- ceived as an amphibrach , and this feeling of amphibrach rhythm tends to perpetuate itself . In order for this to take place , the second beat of each measure must function both as the end of ...
... anacrusis , the first rhythmic group is per- ceived as an amphibrach , and this feeling of amphibrach rhythm tends to perpetuate itself . In order for this to take place , the second beat of each measure must function both as the end of ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF Good | 83 |
Página de créditos | |
Otras 7 secciones no se muestran.
Otras ediciones - Ver todo
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