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 99
... melodic motion of the union ( measure 7 ) are foreshadowed in the previous measures . The important breaking point , the A - flat , is implied by the motion from D ( in measure 5 ) through the C and B - flat ( in measure 6 ) . The ...
... melodic motion of the union ( measure 7 ) are foreshadowed in the previous measures . The important breaking point , the A - flat , is implied by the motion from D ( in measure 5 ) through the C and B - flat ( in measure 6 ) . The ...
Página 109
... melodic motion between measures is conjunct , as is the case in part b of Example 22. Now the final eighth note of the first measure is clearly heard as an upbeat to the second measure , making the rhythm iambic across the bar . But ...
... melodic motion between measures is conjunct , as is the case in part b of Example 22. Now the final eighth note of the first measure is clearly heard as an upbeat to the second measure , making the rhythm iambic across the bar . But ...
Página 141
... motion is up to the D ; but this tone is , so to speak , left dangling in mid - air . It does not really move to ... melodic motion of this melody , it would seem that the G in measure 49 plays a much more important role than it would ...
... motion is up to the D ; but this tone is , so to speak , left dangling in mid - air . It does not really move to ... melodic motion of this melody , it would seem that the G in measure 49 plays a much more important role than it would ...
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