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 ix
... psychologists , and the speculations of musicologists and composers still continue and are ample indication that the ... psychological conditions under which meaning arises and communication takes place in response to music . And ...
... psychologists , and the speculations of musicologists and composers still continue and are ample indication that the ... psychological conditions under which meaning arises and communication takes place in response to music . And ...
Página 4
... psychological behavior give rise to both types of meaning ; and both must be analyzed if the variety made possible by this aspect of musical ex- perience is to be understood . Readers familiar with past studies in the aesthetics and ...
... psychological behavior give rise to both types of meaning ; and both must be analyzed if the variety made possible by this aspect of musical ex- perience is to be understood . Readers familiar with past studies in the aesthetics and ...
Página 5
... psychologists . . inquiries on the assumption that music was a form of pleasurable sensa- tion . . . . This gave rise to an aesthetic based on liking and disliking , a hunt for a sensationist definition of beauty . . . . But beyond a ...
... psychologists . . inquiries on the assumption that music was a form of pleasurable sensa- tion . . . . This gave rise to an aesthetic based on liking and disliking , a hunt for a sensationist definition of beauty . . . . But beyond a ...
Página 6
... psychologists has shown beyond a doubt that understanding is not a matter of per- ceiving single stimuli , or simple sound combinations in isolation , but is rather a matter of grouping stimuli into patterns and relating these patterns ...
... psychologists has shown beyond a doubt that understanding is not a matter of per- ceiving single stimuli , or simple sound combinations in isolation , but is rather a matter of grouping stimuli into patterns and relating these patterns ...
Página 7
... psychologists dealing with music have been as accurate on this point as Weld , who notes that : " The emotional experiences which our observers reported are to be characterized rather as moods than as emotions in the ordinary sense of ...
... psychologists dealing with music have been as accurate on this point as Weld , who notes that : " The emotional experiences which our observers reported are to be characterized rather as moods than as emotions in the ordinary sense of ...
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
A-flat A. M. Jones accented aesthetic experience affective aesthetic affective experience ambiguous amphibrach anacrusis anapest architectonic level arise arouse articulation aspects basic beat become behavior C. P. E. Bach changes chord chromatic chromaticism complete composer concepts connotation consonance and dissonance context continuation create culture Curt Sachs delay deviation diatonic differentiation discussed embellishment emotional established example expectations fact feeling folk music Gestalt give rise harmonic Ibid important incomplete inhibited instance involves jazz law of return listener listener's meaning measure melodic mental meter metric levels mind minor mode mood motion motor musical experience musical processes musical stimuli norms notes organization ornamentation particular passage pattern perception performer phrase pitch play present probability progression psychological rāgas relationships repetition rhythm rhythmic sense sequence shape sonata sound term stimulus situation structural gaps style system stylistic tend tendency tension texture theme theory tion tonal tones tonic triad trochaic uniformity Western music