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 63
Página 2
... theory and practice of many different cultures in many different epochs indicates that music can and does convey referential meaning. The musical cosmologies of the Orient in which tempi, pitches, rhythms, and modes are linked to and ...
... theory and practice of many different cultures in many different epochs indicates that music can and does convey referential meaning. The musical cosmologies of the Orient in which tempi, pitches, rhythms, and modes are linked to and ...
Página 3
... aspects of musical experience, the absolute expressionists and the formalists are actually considering the same musical processes and similar human experiences from different, but not incompatible, viewpoints (see p. 39). Theory 3.
... aspects of musical experience, the absolute expressionists and the formalists are actually considering the same musical processes and similar human experiences from different, but not incompatible, viewpoints (see p. 39). Theory 3.
Página 5
... theory. Attempts to explain the effect of the minor mode of Western music, to cite but one example, in terms of consonance and dissonance or in terms of the harmonic series have resulted in uncontrolled speculations and untenable theories ...
... theory. Attempts to explain the effect of the minor mode of Western music, to cite but one example, in terms of consonance and dissonance or in terms of the harmonic series have resulted in uncontrolled speculations and untenable theories ...
Página 7
... theory of emotions as a basis for interpretation, it yields no precise knowledge of the stimulus which created the emotional response. Because music flows through time, listeners and critics have generally been unable to pinpoint the ...
... theory of emotions as a basis for interpretation, it yields no precise knowledge of the stimulus which created the emotional response. Because music flows through time, listeners and critics have generally been unable to pinpoint the ...
Página 8
... theory of the relation of musical stimuli to emotional responses. Second, a clear distinction must be maintained between the emotions felt by the composer, listener, or critic—the emotional response itself—and the emotional states ...
... theory of the relation of musical stimuli to emotional responses. Second, a clear distinction must be maintained between the emotions felt by the composer, listener, or critic—the emotional response itself—and the emotional states ...
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