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 103
... beats in relation to an accented beat . These groupings may , of course , be more and less clear . And within any given meter they may vary indefinitely . They may in this sense be more and less regular . Furthermore , the accents of ...
... beats in relation to an accented beat . These groupings may , of course , be more and less clear . And within any given meter they may vary indefinitely . They may in this sense be more and less regular . Furthermore , the accents of ...
Página 144
... beat is all important . Hence a meter is incomplete when the main beat of the group is missing . Since the listener expects an objective stimulus to correspond to his " inner beat , ” metric completion cannot be subjective . It should ...
... beat is all important . Hence a meter is incomplete when the main beat of the group is missing . Since the listener expects an objective stimulus to correspond to his " inner beat , ” metric completion cannot be subjective . It should ...
Página 240
... beat of the bar of No. 2 drum will fall either on the second beat of the bar of No. 1 drum or on the third , but never on the first . This is absolutely fundamental to African music . In actual practice , in a large ensemble , some ...
... beat of the bar of No. 2 drum will fall either on the second beat of the bar of No. 1 drum or on the third , but never on the first . This is absolutely fundamental to African music . In actual practice , in a large ensemble , some ...
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