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 3
... sense capable of exciting feelings and emotions in the listener. This point is important because the expressionist position has often been confused with that of the referentialist. For although almost all referentialists are ...
... sense capable of exciting feelings and emotions in the listener. This point is important because the expressionist position has often been confused with that of the referentialist. For although almost all referentialists are ...
Página 4
... sense such musical patterns can be said to have meaning, they have also found themselves unable to show the relation of musical meaning to meaning in general. Finally, this failure to explain the processes by which feelings are aroused ...
... sense such musical patterns can be said to have meaning, they have also found themselves unable to show the relation of musical meaning to meaning in general. Finally, this failure to explain the processes by which feelings are aroused ...
Página 7
... sense of the term. . . . The emotion is temporary and evanescent; the mood is relatively permanent and stable.” 5 As a matter of fact, most of the supposed studies of emotion in music are actually concerned with mood and association ...
... sense of the term. . . . The emotion is temporary and evanescent; the mood is relatively permanent and stable.” 5 As a matter of fact, most of the supposed studies of emotion in music are actually concerned with mood and association ...
Página 16
... sense that the ultimate resolution of the doubt and confusion is specified. Some resolution of the confusion may be more important than this or that particular solution, assuming that the final result is not in conflict with other ...
... sense that the ultimate resolution of the doubt and confusion is specified. Some resolution of the confusion may be more important than this or that particular solution, assuming that the final result is not in conflict with other ...
Página 20
... sense that it pictures, describes, or symbolizes none of the actions, persons, passions, and concepts ordinarily associated with human experience), there is no reason to expect that our emotional experience of it should be referential ...
... sense that it pictures, describes, or symbolizes none of the actions, persons, passions, and concepts ordinarily associated with human experience), there is no reason to expect that our emotional experience of it should be referential ...
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