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 |
Dentro del libro
Resultados 1-3 de 70
Página 99
... measure 7 , where the en- trances of the motive occur at the half measure . However , this in- creased rate of progression also marks the end of the sequence . For the interval A - flat to D - flat in measure 7 does not continue the se ...
... measure 7 , where the en- trances of the motive occur at the half measure . However , this in- creased rate of progression also marks the end of the sequence . For the interval A - flat to D - flat in measure 7 does not continue the se ...
Página 114
... measure 8. And here again we see the influ- ence of prior rhythmic - melodic groupings ; for the upward skip of a ... measure 8 is compared with that of meas- ure 2. The comparison makes it clear that measure 7 is a variant of the first ...
... measure 8. And here again we see the influ- ence of prior rhythmic - melodic groupings ; for the upward skip of a ... measure 8 is compared with that of meas- ure 2. The comparison makes it clear that measure 7 is a variant of the first ...
Página 149
... measures 43 and 44. However , since the rhythm of measure 41 was ambiguous and unformed , measures 41 and 42 fail to set up a rhythm on level 2 ; and , consequently , these four measures are unable to give rise to a feeling of rhythm on ...
... measures 43 and 44. However , since the rhythm of measure 41 was ambiguous and unformed , measures 41 and 42 fail to set up a rhythm on level 2 ; and , consequently , these four measures are unable to give rise to a feeling of rhythm on ...
Índice
THEORY | 1 |
EXPECTATION AND LEARNING | 43 |
THE LAW OF Good | 83 |
Página de créditos | |
Otras 7 secciones no se muestran.
Otras ediciones - Ver todo
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