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 17
... aspects of emotional conduct ) is more complex . Much emotional behavior , though habitual and hence seemingly automatic and natural , is actually learned . Because this aspect of behavior serves in the main as a means of communication ...
... aspects of emotional conduct ) is more complex . Much emotional behavior , though habitual and hence seemingly automatic and natural , is actually learned . Because this aspect of behavior serves in the main as a means of communication ...
Página 57
... aspects of style , alternative probability groups , each of which exhibits its own special probability relationships within the total stylistic context . Like the perception of and response to the more generally continuous aspects of ...
... aspects of style , alternative probability groups , each of which exhibits its own special probability relationships within the total stylistic context . Like the perception of and response to the more generally continuous aspects of ...
Página 126
... aspects of the perceptual process . And it is hoped that the reader will , on the basis of the general viewpoint adopted in this chapter together with his own musical experience , be able to elaborate upon and systematize the ...
... aspects of the perceptual process . And it is hoped that the reader will , on the basis of the general viewpoint adopted in this chapter together with his own musical experience , be able to elaborate upon and systematize 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