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 36
Página ix
... given to non-Western music, and the attempts to include the art of music in studies dealing with cultural history have ... give rise to them, and, second, how in general these conditions are fulfilled in the response to musical stimuli ...
... given to non-Western music, and the attempts to include the art of music in studies dealing with cultural history have ... give rise to them, and, second, how in general these conditions are fulfilled in the response to musical stimuli ...
Página 4
... given by the proponents of each of these positions have suffered from certain important weaknesses. The chief ... give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical ...
... given by the proponents of each of these positions have suffered from certain important weaknesses. The chief ... give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical ...
Página 15
... give rise to affective phenomena when the tendency awakened undergoes inhibition.” 16 However, more complex ... given earlier. In the other case two tendencies which cannot both reach fruition at the same time are brought into play ...
... give rise to affective phenomena when the tendency awakened undergoes inhibition.” 16 However, more complex ... given earlier. In the other case two tendencies which cannot both reach fruition at the same time are brought into play ...
Página 16
... give rise to affect. Although the main tenets of the psychological theory of emotions have been widely accepted, there have, needless to say, been criticisms of the theory. In the main these have come from those who have sought, as yet ...
... give rise to affect. Although the main tenets of the psychological theory of emotions have been widely accepted, there have, needless to say, been criticisms of the theory. In the main these have come from those who have sought, as yet ...
Página 24
... give rise to emotions. What is meant by a tendency to respond? A “tendency” or, as MacCurdy uses the term, an ... given stimulus, follow a previously ordered course, unless inhibited or blocked in some way. The order established by a ...
... give rise to emotions. What is meant by a tendency to respond? A “tendency” or, as MacCurdy uses the term, an ... given stimulus, follow a previously ordered course, unless inhibited or blocked in some way. The order established by a ...
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