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 34
Página 2
... specific in their denotation a great difficulty in granting status to such meanings. Yet such precision is not a characteristic of the non-musical arts either. The many levels of connotation play a vital role in our understanding of the ...
... specific in their denotation a great difficulty in granting status to such meanings. Yet such precision is not a characteristic of the non-musical arts either. The many levels of connotation play a vital role in our understanding of the ...
Página 12
... specific to emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying emotional experience, that is, the affect. Here we face a dilemma. On the one hand ...
... specific to emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying emotional experience, that is, the affect. Here we face a dilemma. On the one hand ...
Página 17
... specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition, then obviously undifferentiated feeling would be out of the question. However, Woodworth's ...
... specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition, then obviously undifferentiated feeling would be out of the question. However, Woodworth's ...
Página 19
... specific stimuli. Not only do we become aware of and know our own emotions in terms of a particular stimulus situation but we interpret and characterize the behavior of others in these terms. “When an organism is in a situation which ...
... specific stimuli. Not only do we become aware of and know our own emotions in terms of a particular stimulus situation but we interpret and characterize the behavior of others in these terms. “When an organism is in a situation which ...
Página 20
... specific and differentiated, but it is so in terms of the musical stimulus situation rather than in terms of extramusical stimuli.“ In the light of this discussion it is evident that, though it is wrong to assert, as some have done ...
... specific and differentiated, but it is so in terms of the musical stimulus situation rather than in terms of extramusical stimuli.“ In the light of this discussion it is evident that, though it is wrong to assert, as some have done ...
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