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 63
Página xi
... PERCEPTION: COMPLETION AND CLOSURE V. PRINCIPLES OF PATTERN PERCEPTION: THE WEAKENING OF SHAPE VI. THE EVIDENCE: DEVIATICN IN PERFORMANCE AND TONAL ORGANIZATION VII. THE EVIDENCE: SIMULTANEOUS AND SUCCESSIVE DEVIATION VIII. NOTE 0N ...
... PERCEPTION: COMPLETION AND CLOSURE V. PRINCIPLES OF PATTERN PERCEPTION: THE WEAKENING OF SHAPE VI. THE EVIDENCE: DEVIATICN IN PERFORMANCE AND TONAL ORGANIZATION VII. THE EVIDENCE: SIMULTANEOUS AND SUCCESSIVE DEVIATION VIII. NOTE 0N ...
Página 1
... perception of the relationships set forth within the musical work of art, and those who contend that, in addition to these abstract, intellectual meanings, music also communicates meanings which in some way refer to the extramusical ...
... perception of the relationships set forth within the musical work of art, and those who contend that, in addition to these abstract, intellectual meanings, music also communicates meanings which in some way refer to the extramusical ...
Página 3
... perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same relationships are in some sense capable of ...
... perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same relationships are in some sense capable of ...
Página 4
... perception. But, at least, the expressionists have recognized the existence of problems in their position. The formalists, on the other hand, have either found no problems to recognize or have simply turned the other way, seeking to ...
... perception. But, at least, the expressionists have recognized the existence of problems in their position. The formalists, on the other hand, have either found no problems to recognize or have simply turned the other way, seeking to ...
Página 6
... perception. Although the volume and intercultural character of this evidence compels us to believe that an emotional response to music does take place, it tells us almost nothing about the nature of the response or about the causal ...
... perception. Although the volume and intercultural character of this evidence compels us to believe that an emotional response to music does take place, it tells us almost nothing about the nature of the response or about the causal ...
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