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 |
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Página 23
... sense daily experience is meaningless and accidental. In art inhibition of tendency becomes meaningful because the relationship between the tendency and its necessary resolution is made explicit and apparent. Tendencies do not simply ...
... sense daily experience is meaningless and accidental. In art inhibition of tendency becomes meaningful because the relationship between the tendency and its necessary resolution is made explicit and apparent. Tendencies do not simply ...
Página 24
... or its final completion is inhibited. Such conscious and self-conscious tendencies are often thought of and referred to as “expectations.” In a broader sense all tendencies, even those which never. 24. Emotion. and. Meaning. in. Music.
... or its final completion is inhibited. Such conscious and self-conscious tendencies are often thought of and referred to as “expectations.” In a broader sense all tendencies, even those which never. 24. Emotion. and. Meaning. in. Music.
Página 25
... sense that each seeks out or “expects” the consequents relevant and appropriate to itself. Though he may never become aware of his expectations as he reaches in his pocket for a pack of cigarettes, the behavior of the habitual smoker ...
... sense that each seeks out or “expects” the consequents relevant and appropriate to itself. Though he may never become aware of his expectations as he reaches in his pocket for a pack of cigarettes, the behavior of the habitual smoker ...
Página 26
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Página 27
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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
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