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 33
Página 8
... circumstances in which the response takes place. Since, aside from the often fortuitous associations which may be aroused, music presents no external circumstances ... stimulus. The depiction of musical moods in conjunction with conventional ...
... circumstances in which the response takes place. Since, aside from the often fortuitous associations which may be aroused, music presents no external circumstances ... stimulus. The depiction of musical moods in conjunction with conventional ...
Página 10
... stimulus situation, the fact that an aesthetic object is being considered, tends toward the suppression of overt behavior, the social aspect of the stimulus situation permits and at times indeed encourages certain standardized types of ...
... stimulus situation, the fact that an aesthetic object is being considered, tends toward the suppression of overt behavior, the social aspect of the stimulus situation permits and at times indeed encourages certain standardized types of ...
Página 12
... situation is concisely summarized by Bapaport: (a) On the basis of the material surveyed nothing can be definitely ... stimulus, the affective response, or the relation between them. This difliculty can 12 Emotion and Meaning in Music.
... situation is concisely summarized by Bapaport: (a) On the basis of the material surveyed nothing can be definitely ... stimulus, the affective response, or the relation between them. This difliculty can 12 Emotion and Meaning in Music.
Página 13
... stimulus alone. The same stimulus may excite emotion in one person but not in another. Nor does the difference lie in the responding individual. The same individual may respond emotionally to a given stimulus in one situation but not in ...
... stimulus alone. The same stimulus may excite emotion in one person but not in another. Nor does the difference lie in the responding individual. The same individual may respond emotionally to a given stimulus in one situation but not in ...
Página 16
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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