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 48
... sequence through the cycle of fifths 10 EXAMPLE 2 with imitations between the soprano and alto is begun . The sequence continues through measure 10 and apparently into measure 11 , where the motive marked x is at first understood as ...
... sequence through the cycle of fifths 10 EXAMPLE 2 with imitations between the soprano and alto is begun . The sequence continues through measure 10 and apparently into measure 11 , where the motive marked x is at first understood as ...
Página 100
... sequence and bolder temporal gaps , so in the smaller motive delay is accompanied by a less regular sequence of tones and a slight rhythmic disturbance . The parallelism be- tween the motivic construction and the over - all phrase ...
... sequence and bolder temporal gaps , so in the smaller motive delay is accompanied by a less regular sequence of tones and a slight rhythmic disturbance . The parallelism be- tween the motivic construction and the over - all phrase ...
Página 176
... sequence , together with its presumed line of harmonic root progres- sion , is schematized as it would have been had it been completely regular . In this version of the sequence the roots of the chords , beginning in measure 6 , are all ...
... sequence , together with its presumed line of harmonic root progres- sion , is schematized as it would have been had it been completely regular . In this version of the sequence the roots of the chords , beginning in measure 6 , are all ...
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