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 28
... tension , the greater the emotional release upon resolution . This observation points up the fact that in aesthetic experience emotional pattern must be con- sidered not only in terms of tension itself but also in terms of the ...
... tension , the greater the emotional release upon resolution . This observation points up the fact that in aesthetic experience emotional pattern must be con- sidered not only in terms of tension itself but also in terms of the ...
Página 60
... tension and suspense relative to the impending allegro which , because of what we know about sonata form in the classical style , is expected . The Quartet creates much less tension but serves as a source for many later developments as ...
... tension and suspense relative to the impending allegro which , because of what we know about sonata form in the classical style , is expected . The Quartet creates much less tension but serves as a source for many later developments as ...
Página 243
... tension operates within the " phrase " and is the organizing , articulating principle of the phrase . But tension does not perform an over - all organizing function , save in the sense that it creates a type of variation form . In other ...
... tension operates within the " phrase " and is the organizing , articulating principle of the phrase . But tension does not perform an over - all organizing function , save in the sense that it creates a type of variation form . In other ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF GOOD | 83 |
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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