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 46
Página 10
... 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 considered, tends toward ...
... 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 considered, tends toward ...
Página 13
... differentiating afiective from non-aifective states, the diiferentia must be sought in the realm of mental activity. However, not all mental responses are affective. We speak of dispassionate observation, calm deliberation, and cool ...
... differentiating afiective from non-aifective states, the diiferentia must be sought in the realm of mental activity. However, not all mental responses are affective. We speak of dispassionate observation, calm deliberation, and cool ...
Página 16
... DIFFERENTIATION OF AFFECT Thus far we have considered emotion as though it were a general, undifferentiated response, a feeling whose character and quality were always more or less the same. While there is 16 Emotion and Meaning in Music.
... DIFFERENTIATION OF AFFECT Thus far we have considered emotion as though it were a general, undifferentiated response, a feeling whose character and quality were always more or less the same. While there is 16 Emotion and Meaning in Music.
Página 17
... differentiated emotional experience, and of the basis for such differentiation is of importance in the present study. For while music theorists and aestheticians have found it difficult to explain how music designates particular ...
... differentiated emotional experience, and of the basis for such differentiation is of importance in the present study. For while music theorists and aestheticians have found it difficult to explain how music designates particular ...
Página 18
... differentiated such behavior tends to be. In general, the total inhibition of powerful tendencies produces diffuse and characterless activity. For example, extreme conflict may result in either complete immobility or in frenzied ...
... differentiated such behavior tends to be. In general, the total inhibition of powerful tendencies produces diffuse and characterless activity. For example, extreme conflict may result in either complete immobility or in frenzied ...
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