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 45
... styles , and epochs . Style : Formal Considerations Musical styles are more or less complex systems of sound rela- tionships understood and used in common by a group of individ- uals . The relationships obtaining within such a style system ...
... styles , and epochs . Style : Formal Considerations Musical styles are more or less complex systems of sound rela- tionships understood and used in common by a group of individ- uals . The relationships obtaining within such a style system ...
Página 56
... style system . Third , it is clear that one style system may presume a knowledge of other styles which do not become overtly realized in a statistical sense . Thus , although the full cadence and diatonic melodic motion are not ...
... style system . Third , it is clear that one style system may presume a knowledge of other styles which do not become overtly realized in a statistical sense . Thus , although the full cadence and diatonic melodic motion are not ...
Página 64
... STYLE CHANGE Thus far we have been dealing largely with style systems , by which term something analogous to language has been meant . Where style systems are similar in important ways , we may say that they belong to the same style - ...
... STYLE CHANGE Thus far we have been dealing largely with style systems , by which term something analogous to language has been meant . Where style systems are similar in important ways , we may say that they belong to the same style - ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF GOOD | 83 |
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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