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 107
... rhythms , ” and intensity differences tend to result in " beginning - accented rhythms . " This analysis explains why trochaic rhythms do not easily arise in triple meter . For the two - unit trochaic rhythm ( —— ) can arise in a three ...
... rhythms , ” and intensity differences tend to result in " beginning - accented rhythms . " This analysis explains why trochaic rhythms do not easily arise in triple meter . For the two - unit trochaic rhythm ( —— ) can arise in a three ...
Página 112
... rhythm , whose piquant character is largely a product of the fact that a trochaic rhythm is , as we have seen , forced upon a naturally iambic temporal relationship . How far one can go in discussing form in terms of rhythm is an open ...
... rhythm , whose piquant character is largely a product of the fact that a trochaic rhythm is , as we have seen , forced upon a naturally iambic temporal relationship . How far one can go in discussing form in terms of rhythm is an open ...
Página 149
... rhythm of level 1 becomes established in meas- ure 42 , and the rhythm of level 2 becomes established in measures 43 and 44. However , since the rhythm of measure 41 was ambiguous and unformed , measures 41 and 42 fail to set up a rhythm ...
... rhythm of level 1 becomes established in meas- ure 42 , and the rhythm of level 2 becomes established in measures 43 and 44. However , since the rhythm of measure 41 was ambiguous and unformed , measures 41 and 42 fail to set up a rhythm ...
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