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 87
Página vii
... important focus of interest for many nominally disparate fields of inquiry. Philosophy, psychology, sociology, and anthropology, to name some of those most directly involved, have all become concerned with the problem of meaning: the ...
... important focus of interest for many nominally disparate fields of inquiry. Philosophy, psychology, sociology, and anthropology, to name some of those most directly involved, have all become concerned with the problem of meaning: the ...
Página ix
... central hypothesis of the study. Because this study draws so freely upon work in many diverse fields, it is perhaps important to emphasize that the basic theoretical formulations advanced in it were derived from a study of Preface on.
... central hypothesis of the study. Because this study draws so freely upon work in many diverse fields, it is perhaps important to emphasize that the basic theoretical formulations advanced in it were derived from a study of Preface on.
Página x
... important ones can be mentioned. In the field of philosophy the work of Henry D. Aiken, John Dewey, Susanne Langer, and George Mead has been a source of insight and understanding. In the field of psychology I have obviously leaned ...
... important ones can be mentioned. In the field of philosophy the work of Henry D. Aiken, John Dewey, Susanne Langer, and George Mead has been a source of insight and understanding. In the field of psychology I have obviously leaned ...
Página 2
... important. On the contrary, the musical theory and practice of many different cultures in many different epochs ... importance of such referential musical meanings and the difficulties encountered in attempting to base an adequate ...
... important. On the contrary, the musical theory and practice of many different cultures in many different epochs ... importance of such referential musical meanings and the difficulties encountered in attempting to base an adequate ...
Página 3
... important because the expressionist position has often been confused with that of the referentialist. For although almost all referentialists are expressionists, believing that music communicates emotional meanings, not all ...
... important because the expressionist position has often been confused with that of the referentialist. For although almost all referentialists are expressionists, believing that music communicates emotional meanings, not all ...
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