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 201
... pitch , an oscillation about a basic pitch . At times it is coupled with cre- scendo and diminuendo effects . That the vibrato was considered particularly expressive may be seen from Geminiani's discussion of it : When it [ the vibrato ] ...
... pitch , an oscillation about a basic pitch . At times it is coupled with cre- scendo and diminuendo effects . That the vibrato was considered particularly expressive may be seen from Geminiani's discussion of it : When it [ the vibrato ] ...
Página 204
... pitch in folk music " since they show a certain system and are sub- consciously intentional , must not be considered faulty , off - pitch singing . This is the essential difference between the accidental off- pitch singing of urban ...
... pitch in folk music " since they show a certain system and are sub- consciously intentional , must not be considered faulty , off - pitch singing . This is the essential difference between the accidental off- pitch singing of urban ...
Página 263
... pitch are generally accompanied by changes in dynamics , timbre , and sometimes tempo . The relationship is physical as well as psychological . If a 33 % r.p.m. phonograph record is played at 78 r.p.m. , pitch will get higher , dy ...
... pitch are generally accompanied by changes in dynamics , timbre , and sometimes tempo . The relationship is physical as well as psychological . If a 33 % r.p.m. phonograph record is played at 78 r.p.m. , pitch will get higher , dy ...
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