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 75
Página vii
... become concerned with the problem of meaning: the variety of meanings, their significance and epistemological status, their interrelationships, and manner of communication. Other fields, such as economics, political science, various ...
... become concerned with the problem of meaning: the variety of meanings, their significance and epistemological status, their interrelationships, and manner of communication. Other fields, such as economics, political science, various ...
Página viii
... become aware of the striking similarity of some aspects of musical experience to other types of aesthetic experience, particularly those evoked by literature. The subject of the present study, though perhaps of more than passing ...
... become aware of the striking similarity of some aspects of musical experience to other types of aesthetic experience, particularly those evoked by literature. The subject of the present study, though perhaps of more than passing ...
Página 2
... become very clear in the course of this study. Others have found the fact that referential meanings are not specific in their denotation a great difficulty in granting status to such meanings. Yet such precision is not a characteristic ...
... become very clear in the course of this study. Others have found the fact that referential meanings are not specific in their denotation a great difficulty in granting status to such meanings. Yet such precision is not a characteristic ...
Página 4
... become clear. Past accounts given by the proponents of each of these positions have suffered from certain important weaknesses. The chief difficulty of those who have adopted the absolutist expressionist position is that they have been ...
... become clear. Past accounts given by the proponents of each of these positions have suffered from certain important weaknesses. The chief difficulty of those who have adopted the absolutist expressionist position is that they have been ...
Página 8
... become signs which designate human emotional states (see pp. 267 f. ). Motives of grief or joy, anger or despair, found in the works of baroque composers or the affective and moral qualities attributed to special modes or rdgas in ...
... become signs which designate human emotional states (see pp. 267 f. ). Motives of grief or joy, anger or despair, found in the works of baroque composers or the affective and moral qualities attributed to special modes or rdgas in ...
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