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 78
Página 7
... tend to be constant, e.g., tempo, general range, dynamic level, instrumentation, and texture. What these elements characterize are those aspects of mental life which are also relatively stable and persistent, namely, moods and ...
... tend to be constant, e.g., tempo, general range, dynamic level, instrumentation, and texture. What these elements characterize are those aspects of mental life which are also relatively stable and persistent, namely, moods and ...
Página 9
... tend to suppress overt behavior. Furthermore, as an important adjunct to this point, it should be noted that emotion ... tends to be diffuse, generalized, or chaotic. Extreme conflict, for example, may result in either motionless ...
... tend to suppress overt behavior. Furthermore, as an important adjunct to this point, it should be noted that emotion ... tends to be diffuse, generalized, or chaotic. Extreme conflict, for example, may result in either motionless ...
Página 10
... tends to be standardized—to become part of more general patterns of social behavior. Thus although the philosophical aspect of the stimulus situation, the fact that an aesthetic object is being considered, tends toward the suppression ...
... tends to be standardized—to become part of more general patterns of social behavior. Thus although the philosophical aspect of the stimulus situation, the fact that an aesthetic object is being considered, tends toward the suppression ...
Página 12
... tend to become standardized and in the case of physiological changes are not specific to emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying ...
... tend to become standardized and in the case of physiological changes are not specific to emotion. What we wish to consider, however, is that which is most vital and essential in emotional experience: the feeling-tone accompanying ...
Página 15
... tend toward opposite or different actions and which cannot both culminate in action at the same time; always provided that the psychical systems brought into play do not differ too widely in intensity. . . 1' Such a situation results ...
... tend toward opposite or different actions and which cannot both culminate in action at the same time; always provided that the psychical systems brought into play do not differ too widely in intensity. . . 1' Such a situation results ...
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