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 48
Página 1
... listeners. This much, at least, we may take for granted. But what constitutes musical meaning and by what processes it is communicated has been the subject of numerous and often heated debates. The first main difference of opinion ...
... listeners. This much, at least, we may take for granted. But what constitutes musical meaning and by what processes it is communicated has been the subject of numerous and often heated debates. The first main difference of opinion ...
Página 2
... listeners who have learned to understand Western music—all these indicate that music can communicate referential meanings. Some of those who have doubted that referential meanings are “real” have based their skepticism upon the fact ...
... listeners who have learned to understand Western music—all these indicate that music can communicate referential meanings. Some of those who have doubted that referential meanings are “real” have based their skepticism upon the fact ...
Página 6
... listeners and the testimony of composers, performers, and critics. Other evidence of the existence of emotional responses to music is based upon the behavior of performers and audiences and upon the physiological changes that accompany ...
... listeners and the testimony of composers, performers, and critics. Other evidence of the existence of emotional responses to music is based upon the behavior of performers and audiences and upon the physiological changes that accompany ...
Página 7
... listeners. Most of the treatises on musical composition and performance stress the importance of the communication of feeling and emotion. Composers have demonstrated in their writings and by the expression marks used in their musical ...
... listeners. Most of the treatises on musical composition and performance stress the importance of the communication of feeling and emotion. Composers have demonstrated in their writings and by the expression marks used in their musical ...
Página 9
... listeners can also be observed and studied objectively. Two general categories of observable responses can be distinguished: (a) those responses which take the form of overt changes in behavior and (12) those responses which take the ...
... listeners can also be observed and studied objectively. Two general categories of observable responses can be distinguished: (a) those responses which take the form of overt changes in behavior and (12) those responses which take the ...
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