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 85
Página ix
... fact, the inclusion of music as part of liberal education, the unpatronizing and serious consideration given to non-Western music, and the attempts to include the art of music in studies dealing with cultural history have made the ...
... fact, the inclusion of music as part of liberal education, the unpatronizing and serious consideration given to non-Western music, and the attempts to include the art of music in studies dealing with cultural history have made the ...
Página 2
... fact that such meanings are not “natural” and universal. Of course, such meanings depend upon learning. But so, too, do purely musical meanings-— a fact that will become very clear in the course of this study. Others have found the fact ...
... fact that such meanings are not “natural” and universal. Of course, such meanings depend upon learning. But so, too, do purely musical meanings-— a fact that will become very clear in the course of this study. Others have found the fact ...
Página 4
... fact, strange as it may seem, they have generally avoided any discussion of emotional responses whatsoever. These shortcomings have led to a general lack of precision both in their account of musical experience and in their discussions ...
... fact, strange as it may seem, they have generally avoided any discussion of emotional responses whatsoever. These shortcomings have led to a general lack of precision both in their account of musical experience and in their discussions ...
Página 6
... fact that very little is known about this response and its relation to the stimulus. Evidence that it exists at all is based largely upon the introspective reports of listeners and the testimony of composers, performers, and critics ...
... fact that very little is known about this response and its relation to the stimulus. Evidence that it exists at all is based largely upon the introspective reports of listeners and the testimony of composers, performers, and critics ...
Página 10
... fact that an aesthetic object is being considered, tends toward the suppression of overt behavior, the social aspect of the stimulus situation permits and at times indeed encourages certain standardized types of emotional behavior. This ...
... fact that an aesthetic object is being considered, tends toward the suppression of overt behavior, the social aspect of the stimulus situation permits and at times indeed encourages certain standardized types of emotional behavior. This ...
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