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 49
... complete the part , the more probable that we shall have to revise our opinion of some or all of its terms . To put it another way , the less complete the part , the weaker the probability relations between those terms already ...
... complete the part , the more probable that we shall have to revise our opinion of some or all of its terms . To put it another way , the less complete the part , the weaker the probability relations between those terms already ...
Página 50
... complete . And presuming that such affective deviants would occur where they would be most effective , we should expect to find them where the pattern is most complete . This expectation is borne out by the prac- tice of musicians ...
... complete . And presuming that such affective deviants would occur where they would be most effective , we should expect to find them where the pattern is most complete . This expectation is borne out by the prac- tice of musicians ...
Página 130
... complete , or finally closed . Furthermore , completeness and closure exhibit the same archi- tectonic order as the music itself . That is , what is felt to be a com- pleted process on one level may appear to be incomplete on a higher ...
... complete , or finally closed . Furthermore , completeness and closure exhibit the same archi- tectonic order as the music itself . That is , what is felt to be a com- pleted process on one level may appear to be incomplete on a higher ...
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