Emotion and Meaning in MusicUniversity of Chicago Press, 1956 - 307 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 62
... culture to culture , from epoch to epoch within the same culture , and even within a single epoch and culture . An American must learn to understand Japanese music just as he must learn to understand the spoken language of Japan . An ...
... culture to culture , from epoch to epoch within the same culture , and even within a single epoch and culture . An American must learn to understand Japanese music just as he must learn to understand the spoken language of Japan . An ...
Página 261
... culture but in the cultures of the Orient and in many primitive cultures . In Western culture , for example , tones are characterized with respect to size ( large or small ) , color value ( light or dark ) , position ( high or low ) ...
... culture but in the cultures of the Orient and in many primitive cultures . In Western culture , for example , tones are characterized with respect to size ( large or small ) , color value ( light or dark ) , position ( high or low ) ...
Página 262
... culture . Evidence from primitive and non - Western cultures is not conclu- sive . Frequently the associations ... culture toward the concept as well as upon the mechanism of association . In other words , although in a given culture one ...
... culture . Evidence from primitive and non - Western cultures is not conclu- sive . Frequently the associations ... culture toward the concept as well as upon the mechanism of association . In other words , although in a given culture one ...
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 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 iamb 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