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 |
Dentro del libro
Resultados 1-3 de 43
Página 153
... theme is introduced . This theme creates a feeling of partial return , not be- cause its melody is similar to that of the opening theme or because it is in the same key as the opening theme , but because its texture is like that of the ...
... theme is introduced . This theme creates a feeling of partial return , not be- cause its melody is similar to that of the opening theme or because it is in the same key as the opening theme , but because its texture is like that of the ...
Página 154
... theme . The theme is patently incom- plete both melodically and harmonically . But the listener's attitude at the end of it is neutral ; that is , though he knows that the music will continue , he does not know whether the theme will be ...
... theme . The theme is patently incom- plete both melodically and harmonically . But the listener's attitude at the end of it is neutral ; that is , though he knows that the music will continue , he does not know whether the theme will be ...
Página 269
... theme of the Haydn rondo involves considerable irregularity , abruptness , and deception , while the theme of the Beethoven rondo is quite regular and forthright . Once the listener becomes aware of this difference in character , he is ...
... theme of the Haydn rondo involves considerable irregularity , abruptness , and deception , while the theme of the Beethoven rondo is quite regular and forthright . Once the listener becomes aware of this difference in character , he is ...
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