Musical Time: The Sense of OrderPendragon Press, 1990 - 391 páginas In order for musical structure to be understood and appreciated as coherent design, the raw material must be shaped and clarified by the listener's perceptual processes of selection and organization. Going beyond the boundaries of traditional analytic observation, Barbara Barry explores the concept of experiential time in a specifically musical and philosophic context, delving into the aspects of perceptual process (the interrelationship between subjective and objective perception of musical compositions and performance). A wealth of published experimental findings and writings on music theory and the philosophy of time are cited, accompanied by numerous musical examples, here brought together in a supporting interpretation and theoretical exemplification. |
Contenido
Generic and Individual 13534 23 | 3 |
Complexity Level and Individual Taste | 15 |
Systemic Structuring | 31 |
Identity Transformation | 43 |
how time passes Philosophic and | 77 |
Fixed Rules and Flexible Strategies | 235 |
Time as Motion and Time as Space | 249 |
Musical Bibliography | 353 |
Philosophical Psychological and Literary Bibliography | 367 |
383 | |
Términos y frases comunes
activity affective ambiguity Analysis analytic appear appoggiatura articulation aspects attention background bars basis becomes cello changes characteristics clocks coherent combination complexity connection continued create cresc criteria defined density depends direction discussion distinct dominant duration dynamics Edited elements emphasis example expectation experience explanation expressive extended factors familiarity figure flat formal function gives greater groups harmonic ideas identity implication important individual internal interpretation Journal kinds larger listener London major material means melodic memory minor motion movement Music Theory musical norms notes objects opening organization passing past pattern Perception Perspectives phrase pitch played present Press principles processing provides Psychology realization recognizable reference regarded regular relationship rhythm rhythmic seen selection sense shape space spans structure Study style succession Symphony tempo Theory third tion tonal understanding units University University Press whole York