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 67
... melodic style . At first deviation and expression was a matter of combining brief melodic formulas in different and sur- prising ways , thus producing new hymn melodies . However , The immense number of hymns introduced into the service ...
... melodic style . At first deviation and expression was a matter of combining brief melodic formulas in different and sur- prising ways , thus producing new hymn melodies . However , The immense number of hymns introduced into the service ...
Página 168
... melodic articulation in the series , though this is too minimized by the fact that the two halves of the series are in this respect equivalent . Finally , it should be noted that in the Debussy example and to some extent in the Brahms ...
... melodic articulation in the series , though this is too minimized by the fact that the two halves of the series are in this respect equivalent . Finally , it should be noted that in the Debussy example and to some extent in the Brahms ...
Página 234
... melodic outlines , and play with its rhythmic structure . Such heterophony is common in both accompanied songs and large orchestra pieces . Both musicians and musical ethnologists point out that this interplay between a basic melodic ...
... melodic outlines , and play with its rhythmic structure . Such heterophony is common in both accompanied songs and large orchestra pieces . Both musicians and musical ethnologists point out that this interplay between a basic melodic ...
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