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Author: Felix Salzer
Publisher: Courier Corporation
ISBN: 0486222756
Category : Music
Languages : en
Pages : 687
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Book Description
Written by a pupil of Heinrich Schenker, this outstanding work develops and extends Schenker's approach. More than 500 examples of music from the Middle Ages to the 20th century complement the detailed discussions and analyses.
Author: Felix Salzer
Publisher: Courier Corporation
ISBN: 0486222756
Category : Music
Languages : en
Pages : 687
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Book Description
Written by a pupil of Heinrich Schenker, this outstanding work develops and extends Schenker's approach. More than 500 examples of music from the Middle Ages to the 20th century complement the detailed discussions and analyses.
Author: Steve Larson
Publisher: Indiana University Press
ISBN: 0253005493
Category : Music
Languages : en
Pages : 243
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Book Description
Steve Larson drew on his 20 years of research in music theory, cognitive linguistics, experimental psychology, and artificial intelligence—as well as his skill as a jazz pianist—to show how the experience of physical motion can shape one's musical experience. Clarifying the roles of analogy, metaphor, grouping, pattern, hierarchy, and emergence in the explanation of musical meaning, Larson explained how listeners hear tonal music through the analogues of physical gravity, magnetism, and inertia. His theory of melodic expectation goes beyond prior theories in predicting complete melodic patterns. Larson elegantly demonstrated how rhythm and meter arise from, and are given meaning by, these same musical forces.
Author: Stefan Östersjö
Publisher: Leuven University Press
ISBN: 9462702292
Category : Music
Languages : en
Pages : 185
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Book Description
Our contemporary, globalised society demands new forms of listening. But what are these new forms? In Listening to the Other, Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body—a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools—and even the body itself—into resistant objects or musical Others. Supported by extensive multimedia documentation and drawing on examples from the author’s own artistic projects spanning electronics, intercultural collaboration, and ecological sound art, this volume enables musicians to learn how to approach musical Others through alternative modes of listening and allows readers to discover artistic methods for intercultural collaboration and ecological sound art practices. This book is closely linked to a series of cutting-edge artistic works, including a triple concerto recorded with the Seattle Symphony and several video works with ecological sound art. It represents the analytical outcomes of artistic research projects carried out in Sweden, the UK, and Belgium between 2009 and 2015.
Author: Simone Dalla Bella
Publisher: John Wiley & Sons
ISBN: 157331739X
Category : Medical
Languages : en
Pages : 585
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Book Description
"This volume will be of particular interest to medical professionals, neuroscientists, neurologists, psychologists, educators, music therapists, musicologists, sound engineers, computer scientists. Manuscripts address how the tools of cognitive neuroscience have provided new insights into where and how rhythm is coded in the brain; production and perception abilities and the relationship between the two; the use of music as a tool for the investigation of human cognition and its underlying brain mechanisms; recent research investigating various aspects of musical memory and learning, and implications for medical rehabilitation for patients with memory disorders; advances in the fields of developmental auditory neuroscience, empirical music aesthetics, and music emotions in normal and disordered development such as autistic spectrum disorders; mutual interactions between music and language in children and adults with cochlear implants; and human communication of information, ideas, and emotional states, and the shared networks of speech and motor processing with musical processing"--NYAS Web site
Author: Felix Salzer
Publisher: New York : C. Boni
ISBN:
Category : Harmony
Languages : en
Pages : 312
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Book Description
Author: Andrew Dell'Antonio
Publisher: Univ of California Press
ISBN: 0520237579
Category : Music
Languages : en
Pages : 346
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Book Description
Rose Subotnik criticized 'structural listening' as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume take up her challenge, writing on repertoires ranging from Beethoven to MTV.
Author: Gary Steven Karpinski
Publisher: Oxford University Press, USA
ISBN: 9780195117851
Category : Music
Languages : en
Pages : 274
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Book Description
This book is about thinking in music. Music listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of the latest research in music perception and cognition, music theory, along with centuries of insight from music theorists, composers, and performers. Aural skills are the focus; the author also works with common problems in both skills teaching and skills acquisition.
Author: Emery Edward George
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3111342565
Category : Language Arts & Disciplines
Languages : en
Pages : 700
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Book Description
No detailed description available for "Hölderlin's "Ars poetica"".
Author: David Clarke
Publisher: Oxford University Press
ISBN: 0199553793
Category : Music
Languages : en
Pages : 409
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Book Description
Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree what it is, or why it is that the whole rich panoply of human experience seems to emerge from a lump of squishy grey matter in our heads. Most agree, though, that consciousness represents a Hard Problem, and consciousness studies has emerged as a quasi-discipline over recent years, as a multidisciplinary discourse seeking to address these and other fascinating and perplexing questions. While the arts and humanities have joined the sciences at the debating table, music has been relatively under-represented-until now. This book redresses this balance. Its 20 essays offer different takes on issues around music and consciousness, both addressing existing agendas, and introducing new ones. No single view emerges, but what the collection as a whole makes clear is that to understand consciousness we need to do much more than look at brains. Studying music makes it clear that consciousness is as much to do with minds, bodies, culture, and history. The book, which includes several chapters drawing from Eastern philosophies, also provides a corrective to any perception that the study of consciousness is a purely Western preoccupation. In addition to what it says about consciousness, the book also - and perhaps primarily - represents a new configuration of writings about music.
Author: Daniel Leech-Wilkinson
Publisher: Cambridge University Press
ISBN: 9780521818704
Category : History
Languages : en
Pages : 358
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Book Description
Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes?
