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 7
... created the emotional response. Because music flows through time, listeners and critics have generally been unable to pinpoint the particular musical process which evoked the affective response which they describe. They have been prone ...
... created the emotional response. Because music flows through time, listeners and critics have generally been unable to pinpoint the particular musical process which evoked the affective response which they describe. They have been prone ...
Página 16
... create tendencies toward clarification. Delay in such a generalized tendency toward clarification may also give rise to affect. Although the main tenets of the psychological theory of emotions have been widely accepted, there have ...
... create tendencies toward clarification. Delay in such a generalized tendency toward clarification may also give rise to affect. Although the main tenets of the psychological theory of emotions have been widely accepted, there have ...
Página 23
... created by the inhibition of tendencies often go unresolved. They are merely dissipated in the press of irrelevant events. In this sense daily experience is meaningless and accidental. In art inhibition of tendency becomes meaningful ...
... created by the inhibition of tendencies often go unresolved. They are merely dissipated in the press of irrelevant events. In this sense daily experience is meaningless and accidental. In art inhibition of tendency becomes meaningful ...
Página 26
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Página 27
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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