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 223
... triad is not more acoustically dissonant than the major one , at least not at its closed position ( Example 86 ) . EXAMPLE 86 Eventually all these theories are faced with the single overwhelm- ing fact that the minor triad has no ...
... triad is not more acoustically dissonant than the major one , at least not at its closed position ( Example 86 ) . EXAMPLE 86 Eventually all these theories are faced with the single overwhelm- ing fact that the minor triad has no ...
Página 226
... triads , the one built upon the seventh degree of the scale ( marked with a cross in Example 91 ) , is itself ambiguous . But in the minor mode four such ambiguous triads are possible . The diminished or aug- mented triads ( marked with ...
... triads , the one built upon the seventh degree of the scale ( marked with a cross in Example 91 ) , is itself ambiguous . But in the minor mode four such ambiguous triads are possible . The diminished or aug- mented triads ( marked with ...
Página 228
... triad per se which has this affective power . For it has been shown that the character of the triad depends upon and can be changed by training and musical context . Indeed , once a modal norm has been established within a given work ...
... triad per se which has this affective power . For it has been shown that the character of the triad depends upon and can be changed by training and musical context . Indeed , once a modal norm has been established within a given work ...
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