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 43
Página viii
... discussed above, is of vital and paramount importance in the field of music itself. For if the aesthetics and criticism of music are ever to move out of the realms of whim, fancy, and prejudice, and if the analysis of music is ever to ...
... discussed above, is of vital and paramount importance in the field of music itself. For if the aesthetics and criticism of music are ever to move out of the realms of whim, fancy, and prejudice, and if the analysis of music is ever to ...
Página x
... discussed in the course of this work; to Knox C. Hill, who helped me to edit and cut the text; and to Otto Gombosi, who gave so freely of his wisdom and erudition. Last but (as tradition hath it) by no means least, I wish to acknowledge ...
... discussed in the course of this work; to Knox C. Hill, who helped me to edit and cut the text; and to Otto Gombosi, who gave so freely of his wisdom and erudition. Last but (as tradition hath it) by no means least, I wish to acknowledge ...
Página 2
... discussed in chapter viii. For the present we must set them aside and simply state that it is not this aspect of meaning which will primarily concern us in the course of this study. For an adequate analysis of the problems involved in ...
... discussed in chapter viii. For the present we must set them aside and simply state that it is not this aspect of meaning which will primarily concern us in the course of this study. For an adequate analysis of the problems involved in ...
Página 12
... discussed: namely, that even when affective experiences result in objective adjustments, whether behavioral or physiological, what can be observed is not the emotion-felt, the aflect, but only its adjuncts and concomitants, which in the ...
... discussed: namely, that even when affective experiences result in objective adjustments, whether behavioral or physiological, what can be observed is not the emotion-felt, the aflect, but only its adjuncts and concomitants, which in the ...
Página 32
Ha alcanzado el límite de visualización de este libro.
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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