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 79
Página 1
... tendency toward philosophical monism rather than a product of any logical opposition between types of meaning. Because this study deals primarily with those meanings which lie within the closed context of the musical work itself, 1 I.
... tendency toward philosophical monism rather than a product of any logical opposition between types of meaning. Because this study deals primarily with those meanings which lie within the closed context of the musical work itself, 1 I.
Página 9
... tendency of human beings to “work off” or relieve emotional tension in physical effort and bodily behavior. In short, the absence of overt emotional behavior, particularly in response to aesthetic stimuli, is no indication as to either ...
... tendency of human beings to “work off” or relieve emotional tension in physical effort and bodily behavior. In short, the absence of overt emotional behavior, particularly in response to aesthetic stimuli, is no indication as to either ...
Página 13
... tendency in the organism to think or act in a particular way. An object or situation which evokes no tendency, to which the organism is indifferent, can only result in a non-emotional state of mind. But even when a tendency is aroused ...
... tendency in the organism to think or act in a particular way. An object or situation which evokes no tendency, to which the organism is indifferent, can only result in a non-emotional state of mind. But even when a tendency is aroused ...
Página 14
... tendency to respond is arrested or inhibited. SUPPORTING THEORIES In 1894 ]ohn Dewey set forth what has since become ... tendency; 1* ( 19) the propensity for this energy to become manifest as behavior or conscious thought once the ...
... tendency to respond is arrested or inhibited. SUPPORTING THEORIES In 1894 ]ohn Dewey set forth what has since become ... tendency; 1* ( 19) the propensity for this energy to become manifest as behavior or conscious thought once the ...
Página 15
... tendencies may be regarded as a special and more complicated case of the arrest of tendency. This point was made in Paulhan's brilliant work, which in 1887, almost ten years before Dewey's formulation, set forth a highly sophisticated ...
... tendencies may be regarded as a special and more complicated case of the arrest of tendency. This point was made in Paulhan's brilliant work, which in 1887, almost ten years before Dewey's formulation, set forth a highly sophisticated ...
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