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 223
... minor triad is not more acoustically dissonant than the major one , at least not at its closed position ( Example 86 ) . EXAMPLE 86 Eventually all ... minor mode , " indicates that what Deviation in Performance and Tonal Organization 223.
... minor triad is not more acoustically dissonant than the major one , at least not at its closed position ( Example 86 ) . EXAMPLE 86 Eventually all ... minor mode , " indicates that what Deviation in Performance and Tonal Organization 223.
Página 226
... minor to follow some substantive tone . In other words , the minor mode is by its very nature more ambiguous than modes with a more limited repertory of tones . From a harmonic point of view , the minor mode is both more ambiguous and ...
... minor to follow some substantive tone . In other words , the minor mode is by its very nature more ambiguous than modes with a more limited repertory of tones . From a harmonic point of view , the minor mode is both more ambiguous and ...
Página 227
... minor mode at the beginning of bridge passages , episodes , development sections ( see Examples 37 and 63 ) . Similarly it explains the practice of em- ploying the minor mode for introductions to pieces which are in major ( see Example ...
... minor mode at the beginning of bridge passages , episodes , development sections ( see Examples 37 and 63 ) . Similarly it explains the practice of em- ploying the minor mode for introductions to pieces which are in major ( see Example ...
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