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 94
Página vii
... musical meaning and its communication is of particular interest for several ... musical world of objects, concepts, and human desires. Thus the meanings which ... experience can, if understood correctly, perhaps yield useful insights into ...
... musical meaning and its communication is of particular interest for several ... musical world of objects, concepts, and human desires. Thus the meanings which ... experience can, if understood correctly, perhaps yield useful insights into ...
Página viii
... musical experience to other types of aesthetic experience, particularly those evoked by literature. The subject of the present study, though perhaps of more than passing interest from the general viewpoints discussed above, is of vital ...
... musical experience to other types of aesthetic experience, particularly those evoked by literature. The subject of the present study, though perhaps of more than passing interest from the general viewpoints discussed above, is of vital ...
Página xi
... NOTE 0N IMACE PRocEssEs, CoNNoTATIoNs, AND Moons . NOTES INDEX 43 83 128 157 197 238 256 278 295 Theory Past Positions as to the Nature of Musical Experience. PRINCIPLES or PATTERN PERCEPTION: THE LAW OF Coon CONTINUATION. xi Table of ...
... NOTE 0N IMACE PRocEssEs, CoNNoTATIoNs, AND Moons . NOTES INDEX 43 83 128 157 197 238 256 278 295 Theory Past Positions as to the Nature of Musical Experience. PRINCIPLES or PATTERN PERCEPTION: THE LAW OF Coon CONTINUATION. xi Table of ...
Página 1
Leonard B. Meyer. Theory. Past. Positions. as. to. the. Nature. of. Musical. Experience. Composers and performers of all cultures, theorists of diverse schools and styles, aestheticians and critics of many different persuasions are all ...
Leonard B. Meyer. Theory. Past. Positions. as. to. the. Nature. of. Musical. Experience. Composers and performers of all cultures, theorists of diverse schools and styles, aestheticians and critics of many different persuasions are all ...
Página 3
... musical experience, the absolute expressionists and the formalists are actually considering the same musical processes and similar human experiences from different, but not incompatible, viewpoints (see p. 39). Theory 3.
... musical experience, the absolute expressionists and the formalists are actually considering the same musical processes and similar human experiences from different, but not incompatible, viewpoints (see p. 39). Theory 3.
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