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
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Página 95
... harmonic process , but with this difference : the harmonic change is conclusive , in the sense that the old process is not re - established as was the case with the melody . Without presenting a detailed harmonic analysis of the Prelude ...
... harmonic process , but with this difference : the harmonic change is conclusive , in the sense that the old process is not re - established as was the case with the melody . Without presenting a detailed harmonic analysis of the Prelude ...
Página 150
... harmonic completeness with reference to this example . A feeling of harmonic completeness arises when the music returns to the harmonic base from which it began or moves to one which was in some way implicit in the opening materials ...
... harmonic completeness with reference to this example . A feeling of harmonic completeness arises when the music returns to the harmonic base from which it began or moves to one which was in some way implicit in the opening materials ...
Página 181
... harmonic ambiguity of this passage is the product of minimal differentiation between successive vertical structures . This is made very clear by the abstract of the harmonic motion of the first thirty- three measures of the introduction ...
... harmonic ambiguity of this passage is the product of minimal differentiation between successive vertical structures . This is made very clear by the abstract of the harmonic motion of the first thirty- three measures of the introduction ...
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