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 |
Dentro del libro
Resultados 1-3 de 56
Página 51
... ambiguous . For ambiguity is a state of mind in the listener , not simply a case of double meanings . If we are certain in our minds as to the meaning of a sound term when it first appears , then it is not ambiguous at that time . And ...
... ambiguous . For ambiguity is a state of mind in the listener , not simply a case of double meanings . If we are certain in our minds as to the meaning of a sound term when it first appears , then it is not ambiguous at that time . And ...
Página 193
... ambiguity may arise . But , in a sense , it is not really the texture which is ambiguous , but the number of elements and their placement make the individual shapes appear unclear and ambiguous . Such textures are not common . For the ...
... ambiguity may arise . But , in a sense , it is not really the texture which is ambiguous , but the number of elements and their placement make the individual shapes appear unclear and ambiguous . Such textures are not common . For the ...
Página 226
... ambiguous . But in the minor mode four such ambiguous triads are possible . The diminished or aug- mented triads ( marked with a cross in Example 91 ) are ambiguous + EXAMPLE 91 because their uniform construction enables them to imply ...
... ambiguous . But in the minor mode four such ambiguous triads are possible . The diminished or aug- mented triads ( marked with a cross in Example 91 ) are ambiguous + EXAMPLE 91 because their uniform construction enables them to imply ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF GOOD | 83 |
Página de créditos | |
Otras 7 secciones no se muestran.
Otras ediciones - Ver todo
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