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
... particular interest for several reasons. Not only does music use no linguistic signs but, on one level at least, it operates as a closed system, that is, it employs no signs or symbols referring to the non-musical world of objects ...
... particular interest for several reasons. Not only does music use no linguistic signs but, on one level at least, it operates as a closed system, that is, it employs no signs or symbols referring to the non-musical world of objects ...
Página x
... particular I am indebted to Grosvenor Cooper for his sympathetic understanding of the viewpoint of this study and his many excellent suggestions; to Charles Morris for his cogent criticisms and his precise analysis of many of the ...
... particular I am indebted to Grosvenor Cooper for his sympathetic understanding of the viewpoint of this study and his many excellent suggestions; to Charles Morris for his cogent criticisms and his precise analysis of many of the ...
Página 7
... particular musical process which evoked the affective response which they describe. They have been prone, therefore, to characterize a whole passage, section, or composition. In such cases the response must have been made to those ...
... particular musical process which evoked the affective response which they describe. They have been prone, therefore, to characterize a whole passage, section, or composition. In such cases the response must have been made to those ...
Página 8
... particular musical selection she had “a restful feeling throughout . . . like one of going downstream while swimming,”6 she is obviously translating unspeakable feelings into symbolic form. The interpretation of such symbols is the task ...
... particular musical selection she had “a restful feeling throughout . . . like one of going downstream while swimming,”6 she is obviously translating unspeakable feelings into symbolic form. The interpretation of such symbols is the task ...
Página 11
... particular physiological changes which take place. These changes appear to be completely independent of any particular style, form, medium, or general character. The same responses will take place whether the music is fast or slow ...
... particular physiological changes which take place. These changes appear to be completely independent of any particular style, form, medium, or general character. The same responses will take place whether the music is fast or slow ...
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