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 99
... progression upward is not altered , for the new motive always begins on the same tone as the second half of the motive does ( Example 12 ) . As a consequence of this modification the process continues basically as before but at a more ...
... progression upward is not altered , for the new motive always begins on the same tone as the second half of the motive does ( Example 12 ) . As a consequence of this modification the process continues basically as before but at a more ...
Página 176
... progression in the upper voice and of harmonic sequence progression throughout , chromaticism and regularity intensify the inner impulsion and drive of the series , weakening the listener's sense of control , his ability to envisage the ...
... progression in the upper voice and of harmonic sequence progression throughout , chromaticism and regularity intensify the inner impulsion and drive of the series , weakening the listener's sense of control , his ability to envisage the ...
Página 180
... progression is substantially Ia . b . ' II.a. EXAMPLE 72 strengthened . Likewise , variety of chord construction may create a sense of well - defined motion , as is the case in IIb as contrasted with IIa . It is clear , from this point ...
... progression is substantially Ia . b . ' II.a. EXAMPLE 72 strengthened . Likewise , variety of chord construction may create a sense of well - defined motion , as is the case in IIb as contrasted with IIa . It is clear , from this point ...
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