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 126
... established process while other aspects of the organization which were at first congruent with that process become changed in important ways . We saw this to be the case in our examination of the " Liebestod " where , it will be ...
... established process while other aspects of the organization which were at first congruent with that process become changed in important ways . We saw this to be the case in our examination of the " Liebestod " where , it will be ...
Página 129
... established as more or less fixed , given parts of a particular work . That is , once a sound term has been established as a coherent , though not necessarily as a complete or closed unit , then part of the series taken by itself will ...
... established as more or less fixed , given parts of a particular work . That is , once a sound term has been established as a coherent , though not necessarily as a complete or closed unit , then part of the series taken by itself will ...
Página 293
... established in a com- position , we may expect a return of the succession or , if one of the parts does return , we may expect the other parts to return in their established order . But this does not account for the order of the ...
... established in a com- position , we may expect a return of the succession or , if one of the parts does return , we may expect the other parts to return in their established order . But this does not account for the order of the ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF GOOD | 83 |
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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