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 45
Página vii
... abstractness with concrete emotional and aesthetic experience can, if understood correctly, perhaps yield useful insights into more general problems of meaning and communication, especially those involving aesthetic experience. However, ...
... abstractness with concrete emotional and aesthetic experience can, if understood correctly, perhaps yield useful insights into more general problems of meaning and communication, especially those involving aesthetic experience. However, ...
Página viii
... aesthetic experience is likewise left for the reader to determine. Where reference has been made to other modes of aesthetic experience, it has been done in order to clarity or bring into sharper relief some point in connection with ...
... aesthetic experience is likewise left for the reader to determine. Where reference has been made to other modes of aesthetic experience, it has been done in order to clarity or bring into sharper relief some point in connection with ...
Página 5
... aesthetic experience with the sensuously pleasing. As Susanne Langer writes: Helmholtz, Wundt, Stumpf, and other psychologists . . . based their inquiries on the assumption that music was a form of pleasurable sensation. . . . This gave ...
... aesthetic experience with the sensuously pleasing. As Susanne Langer writes: Helmholtz, Wundt, Stumpf, and other psychologists . . . based their inquiries on the assumption that music was a form of pleasurable sensation. . . . This gave ...
Página 9
... aesthetic objects is the very fact that, due to our beliefs as to the nature of aesthetic experience, we tend to suppress overt behavior. Furthermore, as an important adjunct to this point, it should be noted that emotion-felt or affect ...
... aesthetic objects is the very fact that, due to our beliefs as to the nature of aesthetic experience, we tend to suppress overt behavior. Furthermore, as an important adjunct to this point, it should be noted that emotion-felt or affect ...
Página 20
... experienced as a parachute jump in an amusement park may, because of our belief ... experience), there is no reason to expect that our emotional experience of ... aesthetic, it is possible to contend that there are emotional experiences ...
... experienced as a parachute jump in an amusement park may, because of our belief ... experience), there is no reason to expect that our emotional experience of ... aesthetic, it is possible to contend that there are emotional experiences ...
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