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 94
... phrase is displaced by an octave ( Ex- ample 6 ) . This process of conjunction by common tone establishes a Phrase 1 . Phrase 2 . 8 EXAMPLE 6 strong force toward continuation . We expect the next phrase , even if it involves new melodic ...
... phrase is displaced by an octave ( Ex- ample 6 ) . This process of conjunction by common tone establishes a Phrase 1 . Phrase 2 . 8 EXAMPLE 6 strong force toward continuation . We expect the next phrase , even if it involves new melodic ...
Página 145
... phrase is the same as that of the ante- cedent phrase . Presto Etc. EXAMPLE 49 After this basic rhythmic structure has been well established in the mind of the listener by repetition both within the phrase and the total period ...
... phrase is the same as that of the ante- cedent phrase . Presto Etc. EXAMPLE 49 After this basic rhythmic structure has been well established in the mind of the listener by repetition both within the phrase and the total period ...
Página 154
... phrase or will simply be repeated . Observe that had the consequent or concluding phrase been presented imme- diately after the antecedent , as indeed it easily could have been , no feeling of return would have been engendered . In ...
... phrase or will simply be repeated . Observe that had the consequent or concluding phrase been presented imme- diately after the antecedent , as indeed it easily could have been , no feeling of return would have been engendered . In ...
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