Emotion and Meaning in MusicUniversity of Chicago Press, 1956 - 315 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
... accented and non - accented beats but also upon the grouping of those beats , meter can , in a sense , exist alone without any impression of rhythm . For where the listener is unable to group the unaccented pulses in a definitive way ...
... accented and non - accented beats but also upon the grouping of those beats , meter can , in a sense , exist alone without any impression of rhythm . For where the listener is unable to group the unaccented pulses in a definitive way ...
Página 106
... accented and un- accented beats into cohesive groups . A series of stimuli of equal intensity and equal duration create no impression of rhythm unless the mind imposes its own differentia- tion on them . Some of the stimuli must be ...
... accented and un- accented beats into cohesive groups . A series of stimuli of equal intensity and equal duration create no impression of rhythm unless the mind imposes its own differentia- tion on them . Some of the stimuli must be ...
Página 108
... accented rather than be- ginning - accented rhythm . However , in this case a powerful stress on the accent will also tend to change the normal organization and make it beginning accented . This is what in fact takes place in the ...
... accented rather than be- ginning - accented rhythm . However , in this case a powerful stress on the accent will also tend to change the normal organization and make it beginning accented . This is what in fact takes place in the ...
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 concepts 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 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