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 27
Página x
... depressed; prodded me when I was lazy; ran the household so that I had a maximum of peace and quiet; and at the same time managed to put up with my many moods and perversities. II. III. Table of Contents . THEORY . EXPECTATION AND x ...
... depressed; prodded me when I was lazy; ran the household so that I had a maximum of peace and quiet; and at the same time managed to put up with my many moods and perversities. II. III. Table of Contents . THEORY . EXPECTATION AND x ...
Página 7
... mood is relatively permanent and stable.” 5 As a matter of fact, most of the supposed studies of emotion in music are actually concerned with mood and association. Taken at face value the introspective data under consideration not only ...
... mood is relatively permanent and stable.” 5 As a matter of fact, most of the supposed studies of emotion in music are actually concerned with mood and association. Taken at face value the introspective data under consideration not only ...
Página 8
... moods in conjunction with conventional melodic or harmonic formulas, perhaps specified by the presence of a text, can become signs which designate human emotional states (see pp. 267 f. ). Motives of grief or joy, anger or despair ...
... moods in conjunction with conventional melodic or harmonic formulas, perhaps specified by the presence of a text, can become signs which designate human emotional states (see pp. 267 f. ). Motives of grief or joy, anger or despair ...
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Página 79
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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