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 50
Página 8
... Emotions are named and distinguished from one another largely in terms of the ... affective and moral qualities attributed to special modes or rdgas in ... experience, it is liable to become garbled and perverted in the process of ...
... Emotions are named and distinguished from one another largely in terms of the ... affective and moral qualities attributed to special modes or rdgas in ... experience, it is liable to become garbled and perverted in the process of ...
Página 11
... emotional experience, the significance of these data is not completely clear. Two principal difficulties are ... affective power of music. Even before the first sound is heard, these beliefs activate dispositions to respond in an ...
... emotional experience, the significance of these data is not completely clear. Two principal difficulties are ... affective power of music. Even before the first sound is heard, these beliefs activate dispositions to respond in an ...
Página 12
... emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying emotional experience, that is, the affect. Here we face a dilemma. On the one hand, the ...
... emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying emotional experience, that is, the affect. Here we face a dilemma. On the one hand, the ...
Página 13
... affective experience and the processes by which musical stimuli might arouse such experience. Such a hypothesis is provided by the psychological theory of emotions. For although much work undoubtedly remains to be done in the field of ...
... affective experience and the processes by which musical stimuli might arouse such experience. Such a hypothesis is provided by the psychological theory of emotions. For although much work undoubtedly remains to be done in the field of ...
Página 17
... emotions, they have found it almost impossible to account for the existence of less specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition, then ...
... emotions, they have found it almost impossible to account for the existence of less specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition, then ...
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