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 58
Página 2
... play a vital role in our understanding of the meanings communicated by the literary and plastic arts. Both the importance of such referential musical meanings and the difficulties encountered in attempting to base an adequate aesthetic ...
... play a vital role in our understanding of the meanings communicated by the literary and plastic arts. Both the importance of such referential musical meanings and the difficulties encountered in attempting to base an adequate aesthetic ...
Página 11
... play. And it seems more reasonable to suppose that the physiological changes observed are a response to the listener's mental set rather than to assume that tone as such can, in some mysterious and unexplained way, bring these changes ...
... play. And it seems more reasonable to suppose that the physiological changes observed are a response to the listener's mental set rather than to assume that tone as such can, in some mysterious and unexplained way, bring these changes ...
Página 15
... play of systems which tend toward opposite or different actions and which cannot both culminate in action at the same time; always provided that the psychical systems brought into play do not differ too widely in intensity. . . 1' Such ...
... play of systems which tend toward opposite or different actions and which cannot both culminate in action at the same time; always provided that the psychical systems brought into play do not differ too widely in intensity. . . 1' Such ...
Página 23
... play by inhibition may be irrelevant to the tendencies themselves. Tensions arising from psychic needs may be “worked off” in sheer physical activity which is without meaningful relation to the original stimulus or to the tendency ...
... play by inhibition may be irrelevant to the tendencies themselves. Tensions arising from psychic needs may be “worked off” in sheer physical activity which is without meaningful relation to the original stimulus or to the tendency ...
Página 24
... play as part of the response to a given stimulus, follow a previously ordered course, unless inhibited or blocked in some way. The order established by a pattern reaction is both temporal and structural; that is, the series involves not ...
... play as part of the response to a given stimulus, follow a previously ordered course, unless inhibited or blocked in some way. The order established by a pattern reaction is both temporal and structural; that is, the series involves not ...
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