Feedback
buchhandel.de

Musical forces : motion, metaphor, and meaning in music / Steve Larson. Foreword by Robert S. Hatten

Gespeichert in:
Bibliographische Angaben
Autor:in: Larson, Steve, 1955-2011 (VerfasserIn)
Beteiligte: Hatten, Robert S.,
Sprache: Englisch
Veröffentlicht:Bloomington : Indiana University Press, c2012
Schriftenreihe:Musical meaning & interpretation
Umfang:XVI, 369 S. : Ill., Notenbeisp. ; 24 cm
ISBN:9780253356826
0253356822
0253005493
9780253005496
Anmerkungen:Formerly CIP Uk. - Includes bibliographical references (p. 347-364) and index. - Introduction -- A theory of musical forces. Thinking about music and thinking in music : pattern, meaning, analogy, metaphor and hierarchies ; Something in the way she moves : the metaphor of musical motion ; Melodic forces : gravity, magnetism, and inertia ; A theory of melodic expectation ; Rhythm, meter, and musical forces ; Analyses -- Evidence for musical forces. Converging evidence : an introduction to part 2 ; Evidence from experiments in visual perception and neuroscience ; Evidence from compositions and improvisations ; Evidence from music-theoretical misunderstandings ; Evidence from a listener-judgment experiment ; Evidence from comparing computer models with production-experiment results -- Conclusion. Summary and prospects
Schlagwörter:
Musik
Kraftfeld
Interdisziplinarität
Musikwahrnehmung
Musikerlebnis
Music > Physiological aspects
Music > Physiological effect
Music > Psychological aspects
Basisklassifikation:

24.44 Musikpsychologie

Mehr zum Titel:Introduction -- A theory of musical forces. Thinking about music and thinking in music : pattern, meaning, analogy, metaphor and hierarchies ; Something in the way she moves : the metaphor of musical motion ; Melodic forces : gravity, magnetism, and inertia ; A theory of melodic expectation ; Rhythm, meter, and musical forces ; Analyses -- Evidence for musical forces. Converging evidence : an introduction to part 2 ; Evidence from experiments in visual perception and neuroscience ; Evidence from compositions and improvisations ; Evidence from music-theoretical misunderstandings ; Evidence from a listener-judgment experiment ; Evidence from comparing computer models with production-experiment results -- Conclusion. Summary and prospects.