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 86
Página 8
... examples of such conventional denotative signs. And it may well be that when a listener reports that he felt this or ... example, when a subject in an experiment by Myers reports that while listening to a particular musical selection she ...
... examples of such conventional denotative signs. And it may well be that when a listener reports that he felt this or ... example, when a subject in an experiment by Myers reports that while listening to a particular musical selection she ...
Página 18
... example, extreme conflict may result in either complete immobility or in frenzied activity, while weeping may accompany deepest grief, tremendous joy, or probably any particularly intense emotion. c) Thus the more automatic affective ...
... example, extreme conflict may result in either complete immobility or in frenzied activity, while weeping may accompany deepest grief, tremendous joy, or probably any particularly intense emotion. c) Thus the more automatic affective ...
Página 25
... example, we expect a specific chord, namely, the tonic (C major), to follow this sequence of EXAMPLE 1 harmonies (see Example 1). Furthermore, the consequent chord is expected. Theory 25.
... example, we expect a specific chord, namely, the tonic (C major), to follow this sequence of EXAMPLE 1 harmonies (see Example 1). Furthermore, the consequent chord is expected. Theory 25.
Página 44
Ha alcanzado el límite de visualización de este libro.
Ha alcanzado el límite de visualización de este libro.
Página 45
Ha alcanzado el límite de visualización de este libro.
Ha alcanzado el límite de visualización de este libro.
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