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 51
Página ix
... musical meaning and communication are with us today. In fact, the inclusion of music as part of liberal education, the unpatronizing and serious consideration given to non-Western music, and the attempts to include the art of music in ...
... musical meaning and communication are with us today. In fact, the inclusion of music as part of liberal education, the unpatronizing and serious consideration given to non-Western music, and the attempts to include the art of music in ...
Página 2
... musical symbolisms depicting actions, character and emotion, utilized by many Western composers since the Middle Ages; and evidence furnished by testing listeners who have learned to understand Western music—all these indicate that music ...
... musical symbolisms depicting actions, character and emotion, utilized by many Western composers since the Middle Ages; and evidence furnished by testing listeners who have learned to understand Western music—all these indicate that music ...
Página 5
... musical communication in terms of vibrations, ratios of intervals, and the like. These same errors have also plagued music theory. Attempts to explain the effect of the minor mode of Western music, to cite but one example, in terms of ...
... musical communication in terms of vibrations, ratios of intervals, and the like. These same errors have also plagued music theory. Attempts to explain the effect of the minor mode of Western music, to cite but one example, in terms of ...
Página 6
... music of other cultures, have made us increasingly aware that the particular organization developed in Western music is not universal, natural, or Cod-given. Evidence as to the Nature and Existence of the Emotional Response to Music Any ...
... music of other cultures, have made us increasingly aware that the particular organization developed in Western music is not universal, natural, or Cod-given. Evidence as to the Nature and Existence of the Emotional Response to Music Any ...
Página 25
... music is able to evoke tendencies. For it has been generally acknowledged that music arouses expectations, some ... Western music of the eighteenth century, for example, we expect a specific chord, namely, the tonic (C major), to ...
... music is able to evoke tendencies. For it has been generally acknowledged that music arouses expectations, some ... Western music of the eighteenth century, for example, we expect a specific chord, namely, the tonic (C major), to ...
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