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 71
Página 13
... mind. If we then ask what distinguishes non-emotional states from emotional ones, it is clear that the difference does not lie in the stimulus alone. The same stimulus may excite emotion in one person but not in another. Nor does the ...
... mind. If we then ask what distinguishes non-emotional states from emotional ones, it is clear that the difference does not lie in the stimulus alone. The same stimulus may excite emotion in one person but not in another. Nor does the ...
Página 15
... mind such states of doubt and confusion are abhorrent; and, when confronted with them, the mind attempts to resolve Theory 15.
... mind such states of doubt and confusion are abhorrent; and, when confronted with them, the mind attempts to resolve Theory 15.
Página 16
Leonard B. Meyer. and, when confronted with them, the mind attempts to resolve them into clarity and certainty, even if this means abandoning all other previously activated tendencies. Thus confusion and lack of clarity, growing out of ...
Leonard B. Meyer. and, when confronted with them, the mind attempts to resolve them into clarity and certainty, even if this means abandoning all other previously activated tendencies. Thus confusion and lack of clarity, growing out of ...
Página 21
... mind: (1) There is no real evidence to show that there is only one single natural mode of behavior relevant to a given stimulus situation. When alternative modes of behavior are possible, cultural selection probably determines the ...
... mind: (1) There is no real evidence to show that there is only one single natural mode of behavior relevant to a given stimulus situation. When alternative modes of behavior are possible, cultural selection probably determines the ...
Página 25
... minds do not actively expect a consequent unless the pattern reaction is disturbed, our habits and tendencies are expectant in the sense that each seeks out or “expects” the consequents relevant and appropriate to itself. Though he may ...
... minds do not actively expect a consequent unless the pattern reaction is disturbed, our habits and tendencies are expectant in the sense that each seeks out or “expects” the consequents relevant and appropriate to itself. Though he may ...
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