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 87
Página ix
... first, the nature of emotional and intellectual meanings, their interrelationship, and the conditions which give rise to them, and, second, how in general these conditions are fulfilled in the response to musical stimuli. Chapters ii—v ...
... first, the nature of emotional and intellectual meanings, their interrelationship, and the conditions which give rise to them, and, second, how in general these conditions are fulfilled in the response to musical stimuli. Chapters ii—v ...
Página 1
... first main difference of opinion exists between those who insist that musical meaning lies exclusively within the context of the work itself, in the perception of the relationships set forth within the musical work of art, and those who ...
... first main difference of opinion exists between those who insist that musical meaning lies exclusively within the context of the work itself, in the perception of the relationships set forth within the musical work of art, and those who ...
Página 7
... first difliculty with this evidence is that, taken at its face value, without benefit of a general theory of emotions as a basis for interpretation, it yields no precise knowledge of the stimulus which created the emotional response ...
... first difliculty with this evidence is that, taken at its face value, without benefit of a general theory of emotions as a basis for interpretation, it yields no precise knowledge of the stimulus which created the emotional response ...
Página 19
... first arousing apprehension, then dispelling it.” 22 But were this actually the case we could only know whether an emotion were pleasant or unpleasant after it was over. Yet, surely, we know more than this while we are experiencing ...
... first arousing apprehension, then dispelling it.” 22 But were this actually the case we could only know whether an emotion were pleasant or unpleasant after it was over. Yet, surely, we know more than this while we are experiencing ...
Página 23
... First, as we have seen, afiective experience includes an awareness and knowledge of the stimulus situation. This being so, the affective experience of music will differ from other types of affective experience, particularly in so far as ...
... First, as we have seen, afiective experience includes an awareness and knowledge of the stimulus situation. This being so, the affective experience of music will differ from other types of affective experience, particularly in so far as ...
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
accented aesthetic experience affective aesthetic affective experience ambiguous amphibrach anacrusis anapest arise arouse articulation basic beat become Beethoven behavior C. P. E. Bach changes chord chromatic chromaticism complete composer connotation consonance and dissonance context continuation create culture Curt Sachs definite delay deviation diatonic differentiation discussed embellishment emotional example expectations fact feeling field fifth figure final find first fixed folk music Gestalt give rise harmonic iamb important incomplete influence instance involves law of return listener listener’s meaning measure melodic melodic motion mental meter metric levels mind minor mode mood motion motor musical experience musical processes norms notes organization ornamentation particular passage pattern perception performer phrase pitch play probability progression psychological relationships repetition response rhythm rhythmic sense sequence shape significance sonata sound term specific stimulus situation structural gaps style system stylistic tend tendency tension texture theme theory tion tonal tones tonic triad trochaic uniformity Western music