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 90
Página viii
... relationship of music to other kinds of meaning and other modes of communication can be considered, a detailed examination of the meanings of music and the processes by which they are communicated must be made. Thus although it is hoped ...
... relationship of music to other kinds of meaning and other modes of communication can be considered, a detailed examination of the meanings of music and the processes by which they are communicated must be made. Thus although it is hoped ...
Página 1
... 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 world of concepts ...
... 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 world of concepts ...
Página 3
... relationships inherent in the musical progress rather than with any relationships between the musical organization and the extramusical world of concepts, actions, characters, and situations. The position adopted admits both formalist ...
... relationships inherent in the musical progress rather than with any relationships between the musical organization and the extramusical world of concepts, actions, characters, and situations. The position adopted admits both formalist ...
Página 4
... relationship between them will become clear. Past accounts given by the proponents of each of these positions have suffered from certain important weaknesses. The chief difficulty of those who have adopted the absolutist expressionist ...
... relationship between them will become clear. Past accounts given by the proponents of each of these positions have suffered from certain important weaknesses. The chief difficulty of those who have adopted the absolutist expressionist ...
Página 11
... relationship between mental sets and physiological changes has been demonstrated beyond doubt, the effect of “tone as such” has not (see pp. 74 f.). This does not imply that the presence of a physiological environment, which is a ...
... relationship between mental sets and physiological changes has been demonstrated beyond doubt, the effect of “tone as such” has not (see pp. 74 f.). This does not imply that the presence of a physiological environment, which is a ...
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