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
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Página 13
... field of emotional theory , there appears to be general agree- ment among psychologists and psychiatrists at least as to the con- ditions under which emotional responses arise and as to the relation- ship between the affective stimulus ...
... field of emotional theory , there appears to be general agree- ment among psychologists and psychiatrists at least as to the con- ditions under which emotional responses arise and as to the relation- ship between the affective stimulus ...
Página 15
... field believe that it is the blocking or inhibiting of a tendency which arouses affect . Actually the concept of conflict through the opposition of simultaneously aroused conflicting tendencies may be regarded as a special and more ...
... field believe that it is the blocking or inhibiting of a tendency which arouses affect . Actually the concept of conflict through the opposition of simultaneously aroused conflicting tendencies may be regarded as a special and more ...
Página 17
... field makes it clear that this is not the case.19 The evidence in the case of " emotional ( affective ) behavior " ( the term which will henceforth be used to designate the overt and ob- servable aspects of emotional conduct ) is more ...
... field makes it clear that this is not the case.19 The evidence in the case of " emotional ( affective ) behavior " ( the term which will henceforth be used to designate the overt and ob- servable aspects of emotional conduct ) is more ...
Página 34
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Página 44
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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
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