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 40
... musical experience and the expres- sionist's conception of it appear as complementary rather than con- tradictory positions . They are considering not different processes but different ways of experiencing the same process . Whether a ...
... musical experience and the expres- sionist's conception of it appear as complementary rather than con- tradictory positions . They are considering not different processes but different ways of experiencing the same process . Whether a ...
Página 43
... musical meaning , whether affective or aesthetic , arises in any par- ticular instance . Such an analysis is also necessary if the evidence used in support of the hypothesis , evidence which relates specific musical ... processes -the modes ...
... musical meaning , whether affective or aesthetic , arises in any par- ticular instance . Such an analysis is also necessary if the evidence used in support of the hypothesis , evidence which relates specific musical ... processes -the modes ...
Página 198
... musical materials , such as range , tempo , dynamic level , which do not ... musical process in the passage cited - a process in which the relationship of ... processes by bringing their observations to the level of conscious awareness ...
... musical materials , such as range , tempo , dynamic level , which do not ... musical process in the passage cited - a process in which the relationship of ... processes by bringing their observations to the level of conscious awareness ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF GOOD | 83 |
Página de créditos | |
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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