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 57
... concepts which we label as this or that form are developed . The genesis of class concepts in which forms , under the influence of mental tendencies , become normalized will be further discussed in chapter iii . Here it is suffi- cient ...
... concepts which we label as this or that form are developed . The genesis of class concepts in which forms , under the influence of mental tendencies , become normalized will be further discussed in chapter iii . Here it is suffi- cient ...
Página 58
... concept of a form is constantly being modified by new experiences of that form . Each time , for example , we hear a ... concepts are always modified by a particular style . That is , we not only have an abstract conception of fugue in ...
... concept of a form is constantly being modified by new experiences of that form . Each time , for example , we hear a ... concepts are always modified by a particular style . That is , we not only have an abstract conception of fugue in ...
Página 255
... concepts and theories in other realms of thought . Thus it is significant that many of the concepts presented in this book have clear counterparts in the theory of games and in information theory . To cite only one instance of this : it ...
... concepts and theories in other realms of thought . Thus it is significant that many of the concepts presented in this book have clear counterparts in the theory of games and in information theory . To cite only one instance of this : it ...
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