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 51
Página ix
... psychologists, and the speculations of musicologists and composers still continue and are ample indication that the ... psychological conditions under which meaning arises and communication takes place in response to music. And chapters ...
... psychologists, and the speculations of musicologists and composers still continue and are ample indication that the ... psychological conditions under which meaning arises and communication takes place in response to music. And chapters ...
Página 4
... psychological behavior give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical experience is to be understood. Readers familiar with past studies in the aesthetics and ...
... psychological behavior give rise to both types of meaning; and both must be analyzed if the variety made possible by this aspect of musical experience is to be understood. Readers familiar with past studies in the aesthetics and ...
Página 5
... psychologists . . . based their inquiries on the assumption that music was a form of pleasurable sensation. . . . This gave rise to an aesthetic based on liking and disliking, a hunt for a sensationist definition of beauty. . . . But ...
... psychologists . . . based their inquiries on the assumption that music was a form of pleasurable sensation. . . . This gave rise to an aesthetic based on liking and disliking, a hunt for a sensationist definition of beauty. . . . But ...
Página 6
... psychologists has shown beyond a doubt that understanding is not a matter of perceiving single stimuli, or simple sound combinations in isolation, but is rather a matter of grouping stimuli into patterns and relating these patterns to ...
... psychologists has shown beyond a doubt that understanding is not a matter of perceiving single stimuli, or simple sound combinations in isolation, but is rather a matter of grouping stimuli into patterns and relating these patterns to ...
Página 7
... psychologists dealing with music have been as accurate on this point as Weld, who notes that: “The emotional experiences which our observers reported are to be characterized rather as moods than as emotions in the ordinary sense of the ...
... psychologists dealing with music have been as accurate on this point as Weld, who notes that: “The emotional experiences which our observers reported are to be characterized rather as moods than as emotions in the ordinary sense of the ...
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