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
Página 3
... 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 expressionists, believing that music ...
... 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 expressionists, believing that music ...
Página 4
... feelings and emotions. In fact, strange as it may seem, they have generally avoided any discussion of emotional responses whatsoever. These shortcomings have led to a general lack of precision both in their account of musical experience ...
... feelings and emotions. In fact, strange as it may seem, they have generally avoided any discussion of emotional responses whatsoever. These shortcomings have led to a general lack of precision both in their account of musical experience ...
Página 7
... feeling and emotion. Composers have demonstrated in their writings and by the expression marks used in their musical ... feelings and emotions in them. The first difliculty with this evidence is that, taken at its face value, without ...
... feeling and emotion. Composers have demonstrated in their writings and by the expression marks used in their musical ... feelings and emotions in them. The first difliculty with this evidence is that, taken at its face value, without ...
Página 8
... feeling throughout . . . like one of going downstream while swimming,”6 she is obviously translating unspeakable feelings into symbolic form. The interpretation of such symbols is the task of the psychiatrist, not the music 8 Emotion ...
... feeling throughout . . . like one of going downstream while swimming,”6 she is obviously translating unspeakable feelings into symbolic form. The interpretation of such symbols is the task of the psychiatrist, not the music 8 Emotion ...
Página 9
... feelings and emotions, presents other difliculties no less perplexing. In the first place, emotional responses need ... feeling does not result in or take the form of overt behavior or mental fantasy (see p. 14). This is clear as soon ...
... feelings and emotions, presents other difliculties no less perplexing. In the first place, emotional responses need ... feeling does not result in or take the form of overt behavior or mental fantasy (see p. 14). This is clear as soon ...
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