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 40
Página ix
... context in which they arise. Apart from the social situation there can be neither meaning nor communication. An understanding of the cultural and stylistic presuppositions of a piece of music is absolutely essential to the analysis of ...
... context in which they arise. Apart from the social situation there can be neither meaning nor communication. An understanding of the cultural and stylistic presuppositions of a piece of music is absolutely essential to the analysis of ...
Página 1
... context of the work itself, in the perception of the relationships set forth within the musical work of art, and those who contend that, in addition to these abstract, intellectual meanings, music also communicates meanings which in ...
... context of the work itself, in the perception of the relationships set forth within the musical work of art, and those who contend that, in addition to these abstract, intellectual meanings, music also communicates meanings which in ...
Página 2
Leonard B. Meyer. lie within the closed context of the musical work itself, it is necessary to emphasize that the prominence given to this aspect of musical meaning does not imply that other kinds of meaning do not exist or are not ...
Leonard B. Meyer. lie within the closed context of the musical work itself, it is necessary to emphasize that the prominence given to this aspect of musical meaning does not imply that other kinds of meaning do not exist or are not ...
Página 28
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Página 30
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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