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 142
... fact which Hinde- mith notes in his own analysis . In terms both of its motive and its over - all triadic motion , this melody provides one of the normative sound terms in the first move- ment of Mathis der Maler . Its analysis ...
... fact which Hinde- mith notes in his own analysis . In terms both of its motive and its over - all triadic motion , this melody provides one of the normative sound terms in the first move- ment of Mathis der Maler . Its analysis ...
Página 159
... fact that the apprehension of shape is a function of the norms of articulation established within a given style does not mean that any stimulation can create an impression of shape . As we have seen , neither total segregation nor total ...
... fact that the apprehension of shape is a function of the norms of articulation established within a given style does not mean that any stimulation can create an impression of shape . As we have seen , neither total segregation nor total ...
Página 168
... fact that the chords themselves are con- structed of equal intervals or from the fact that all the chords of the series are of the same construction , but because the successive groups , whether primarily melodic or both melodic and ...
... fact that the chords themselves are con- structed of equal intervals or from the fact that all the chords of the series are of the same construction , but because the successive groups , whether primarily melodic or both melodic and ...
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