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 48
Página 4
... behavior give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical experience is to be understood. Readers familiar with past studies in the aesthetics and psychology of music ...
... behavior give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical experience is to be understood. Readers familiar with past studies in the aesthetics and psychology of music ...
Página 6
... behavior of performers and audiences and upon the physiological changes that accompany musical perception. Although the volume and intercultural character of this evidence compels us to believe that an emotional response to music does ...
... behavior of performers and audiences and upon the physiological changes that accompany musical perception. Although the volume and intercultural character of this evidence compels us to believe that an emotional response to music does ...
Página 9
... BEHAVIOR The responses of listeners can also be observed and studied objectively. Two general categories of observable responses can be distinguished: (a) those responses which take the form of overt changes in behavior and (12) those ...
... BEHAVIOR The responses of listeners can also be observed and studied objectively. Two general categories of observable responses can be distinguished: (a) those responses which take the form of overt changes in behavior and (12) those ...
Página 10
... behavior does become differentiated it tends to be standardized—to become part of more general patterns of social behavior. Thus although the philosophical aspect of the stimulus situation, the fact that an aesthetic object is being ...
... behavior does become differentiated it tends to be standardized—to become part of more general patterns of social behavior. Thus although the philosophical aspect of the stimulus situation, the fact that an aesthetic object is being ...
Página 12
... behavioral or physiological, what can be observed is not the emotion-felt, the aflect, but only its adjuncts and concomitants, which in the case of behavior tend to become standardized and in the case of physiological changes are not ...
... behavioral or physiological, what can be observed is not the emotion-felt, the aflect, but only its adjuncts and concomitants, which in the case of behavior tend to become standardized and in the case of physiological changes are not ...
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