Emotion and Meaning in MusicUniversity of Chicago Press, 1 jun 2008 - 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 |
Dentro del libro
Resultados 1-5 de 21
Página vii
... fields of inquiry . Philosophy , psychology , so- ciology , and anthropology , to name some of those most directly in- volved , have all become concerned with the problem of meaning : the variety of meanings , their significance and ...
... fields of inquiry . Philosophy , psychology , so- ciology , and anthropology , to name some of those most directly in- volved , have all become concerned with the problem of meaning : the variety of meanings , their significance and ...
Página viii
... field of music itself . For if the aesthetics and criticism of music are ever to move out of the realms of whim , fancy , and prejudice , and if the analy- sis of music is ever to go beyond description which employs a special jargon ...
... field of music itself . For if the aesthetics and criticism of music are ever to move out of the realms of whim , fancy , and prejudice , and if the analy- sis of music is ever to go beyond description which employs a special jargon ...
Página ix
... field . The book is divided into three main parts . Chapter i considers , first , the nature of emotional and ... fields , it is perhaps important to emphasize that the basic theoreti- cal formulations advanced in it were derived from a ...
... field . The book is divided into three main parts . Chapter i considers , first , the nature of emotional and ... fields , it is perhaps important to emphasize that the basic theoreti- cal formulations advanced in it were derived from a ...
Página x
... fields often furnished exciting and encouraging confirmation for conclusions originally reached through a careful ... field of psy- chology I have obviously leaned heavily upon the works of K. Koffka , J. T. MacCurdy , and James ...
... fields often furnished exciting and encouraging confirmation for conclusions originally reached through a careful ... field of psy- chology I have obviously leaned heavily upon the works of K. Koffka , J. T. MacCurdy , and James ...
Página 4
... and psychology of music will perhaps note that much of the earlier work in these fields is not discussed in this study and that many traditional prob- lems are ignored . This neglect stems from the conviction 4 Emotion and Meaning in Music.
... and psychology of music will perhaps note that much of the earlier work in these fields is not discussed in this study and that many traditional prob- lems are ignored . This neglect stems from the conviction 4 Emotion and Meaning in Music.
Índice
1 | |
II Expectation and Learning | 43 |
The Law of Good Continuation | 83 |
Completion and Closure | 128 |
The Weakening of Shape | 157 |
Deviation in Performance and Tonal Organization | 197 |
Simultaneous and Successive Deviation | 233 |
VIII Note on Image Processes Connotations and Moods | 256 |
Notes | 273 |
Index | 295 |
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