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 79
Página 203
... deviation with the total affec- tive aesthetic musical structure . Because Seashore advances no theory and attempts no explana- tion of the relationship between deviation and affective aesthetic experience , his viewpoint lacks ...
... deviation with the total affec- tive aesthetic musical structure . Because Seashore advances no theory and attempts no explana- tion of the relationship between deviation and affective aesthetic experience , his viewpoint lacks ...
Página 233
... deviation ” and “ suc- cessive deviation " to affective aesthetic responses . The term " simul- taneous deviation ” denotes those musical situations in which two or more voices are " played off " against one another , either rhyth ...
... deviation ” and “ suc- cessive deviation " to affective aesthetic responses . The term " simul- taneous deviation ” denotes those musical situations in which two or more voices are " played off " against one another , either rhyth ...
Página 249
... deviation tends to involve increased ornamentation , an intensification of simultaneous deviation , etc. And it is reasonable to suppose that since successive deviation is com- monly associated with other types of deviation , which can ...
... deviation tends to involve increased ornamentation , an intensification of simultaneous deviation , etc. And it is reasonable to suppose that since successive deviation is com- monly associated with other types of deviation , which can ...
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