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 6-10 de 89
Página 11
... particular physiological changes which take place. These changes appear to be completely independent of any particular style, form, medium, or general character. The same responses will take place whether the music is fast or slow ...
... particular physiological changes which take place. These changes appear to be completely independent of any particular style, form, medium, or general character. The same responses will take place whether the music is fast or slow ...
Página 13
... 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, emotion may not result. If, for example, 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, emotion may not result. If, for example, a ...
Página 16
... particular solution, assuming that the final result is not in conflict with other aspects of the stimulus situation or other mental sets. Furthermore, it should be noted that uncertainty and lack of clarity may be products not only of ...
... particular solution, assuming that the final result is not in conflict with other aspects of the stimulus situation or other mental sets. Furthermore, it should be noted that uncertainty and lack of clarity may be products not only of ...
Página 17
... particular emotions, they have found it almost impossible to account for the existence of less specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition ...
... particular emotions, they have found it almost impossible to account for the existence of less specific affective experience. Were the evidence to show that each aifect or type of affect had its own peculiar physiological composition ...
Página 19
... particular responding individuals and specific stimuli. Not only do we become aware of and know our own emotions in terms of a particular stimulus situation but we interpret and characterize the behavior of others in these terms. “When ...
... particular responding individuals and specific stimuli. Not only do we become aware of and know our own emotions in terms of a particular stimulus situation but we interpret and characterize the behavior of others in these terms. “When ...
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