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 92
Página x
... depressed; prodded me when I was lazy; ran the household so that I had a maximum of peace and quiet; and at the same time managed to put up with my many moods and perversities. II. III. Table of Contents . THEORY . EXPECTATION AND x ...
... depressed; prodded me when I was lazy; ran the household so that I had a maximum of peace and quiet; and at the same time managed to put up with my many moods and perversities. II. III. Table of Contents . THEORY . EXPECTATION AND x ...
Página xi
Leonard B. Meyer. II. III. Table of Contents . THEORY . EXPECTATION AND LEARNING . IV. PRINCIPLEs OF PATTERN PERCEPTION: COMPLETION AND CLOSURE V. PRINCIPLES OF PATTERN PERCEPTION: THE WEAKENING OF SHAPE VI. THE EVIDENCE: DEVIATICN IN ...
Leonard B. Meyer. II. III. Table of Contents . THEORY . EXPECTATION AND LEARNING . IV. PRINCIPLEs OF PATTERN PERCEPTION: COMPLETION AND CLOSURE V. PRINCIPLES OF PATTERN PERCEPTION: THE WEAKENING OF SHAPE VI. THE EVIDENCE: DEVIATICN IN ...
Página 23
... EXPECTATION IN MUSIC The assumption that the same basic psychological processes underlie all affective responses, whether the stimulus be musical or of some other kind, has been implicit in much musical theory. Theory. 23.
... EXPECTATION IN MUSIC The assumption that the same basic psychological processes underlie all affective responses, whether the stimulus be musical or of some other kind, has been implicit in much musical theory. Theory. 23.
Página 24
... completion is inhibited. Such conscious and self-conscious tendencies are often thought of and referred to as “expectations.” In a broader sense all tendencies, even those which never. 24. Emotion. and. Meaning. in. Music.
... completion is inhibited. Such conscious and self-conscious tendencies are often thought of and referred to as “expectations.” In a broader sense all tendencies, even those which never. 24. Emotion. and. Meaning. in. Music.
Página 25
... expectations. For since a tendency is a kind of chain reaction in which a present stimulus leads through a series of adjustments to a more or less specified consequent, the consequent is always implied in the tendency, once the tendency ...
... expectations. For since a tendency is a kind of chain reaction in which a present stimulus leads through a series of adjustments to a more or less specified consequent, the consequent is always implied in the tendency, once the tendency ...
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