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 87
... organization will always be satisfactory . On the contrary , in many instances the figures perceived , the rela- tion of figure to ground , or the relation of figures to each other will be less than satisfactory , either in and of ...
... organization will always be satisfactory . On the contrary , in many instances the figures perceived , the rela- tion of figure to ground , or the relation of figures to each other will be less than satisfactory , either in and of ...
Página 110
... organization is not merely a matter of duration and accent but a matter of these elements in relation to all other aspects of the pattern organization . However , while the mental organization of the musical stimuli will be as " good ...
... organization is not merely a matter of duration and accent but a matter of these elements in relation to all other aspects of the pattern organization . However , while the mental organization of the musical stimuli will be as " good ...
Página 116
... organization of the inferior metric levels and others imply what the organization is to be . Thus a time signature of 3/4 specifies that the primary metric level is to be in threes and implies , but only implies , that the second- ary ...
... organization of the inferior metric levels and others imply what the organization is to be . Thus a time signature of 3/4 specifies that the primary metric level is to be in threes and implies , but only implies , that the second- ary ...
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