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 132
... tonal system in which the octave is divided into only five steps and in which one of the normal distances is a third , such an interval will probably not be considered as being a structural gap . The preceding statements were ...
... tonal system in which the octave is divided into only five steps and in which one of the normal distances is a third , such an interval will probably not be considered as being a structural gap . The preceding statements were ...
Página 133
... tonal materials comprising the octave . For the new tones , introduced at first for the sake of both completion and , as we shall see later , expression , eventually become fixed parts of the tonal repertory - norms of the tonal system ...
... tonal materials comprising the octave . For the new tones , introduced at first for the sake of both completion and , as we shall see later , expression , eventually become fixed parts of the tonal repertory - norms of the tonal system ...
Página 215
... tonal sphere which , relative to the tonal spheres of other sections , is structurally active , so that the whole section may be said to tend toward another section whose tonal sphere is sub- stantive . However , even within a tonal ...
... tonal sphere which , relative to the tonal spheres of other sections , is structurally active , so that the whole section may be said to tend toward another section whose tonal sphere is sub- stantive . However , even within a tonal ...
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