Emotion and meaning in music

Half-Title......Page 1
Title......Page 3
Copyright......Page 4
Dedication......Page 5
Preface......Page 7
Table of Contents......Page 11
Past Positions as to the Nature of Musical Experience......Page 13
The presente position and criticism of past assumptions......Page 15
Subjective evidence......Page 18
Objective evidence: behavior......Page 21
Objective evidence: physiological responses......Page 22
The Psychological Theory of Emotions......Page 25
Supporting theories......Page 26
The differentiation of affect......Page 28
Emotional designation......Page 32
An assumption......Page 34
Tendency and expectation in music......Page 35
Expectation, suspense, and the unexpected......Page 37
Conscious and unconscious expectations......Page 42
The problem of meaning in music......Page 44
Music and meaning......Page 47
The objectification of meaning......Page 50
Meaning and affect......Page 51
Music and communication......Page 52
II. Expectation and Learning......Page 55
Sound terms and sound stimuli......Page 57
Ambiguity......Page 63
Static versus dynamic: conceptions of musical process......Page 64
Probability......Page 66
Form, probability, and expectation......Page 68
Style and Social Process......Page 72
Learning and style......Page 73
The plurality of styles......Page 74
Patterns of style change......Page 76
Style changes and the composer......Page 81
Cyclic change and style......Page 84
Aesthetic belief......Page 85
Belief and the presumption of logic......Page 87
The influence of knowledge and experience on perception......Page 89
Motor Attitudes and Motor Responses......Page 91
Learning and perception......Page 95
Difficulties in the application of gestalt concepts......Page 97
The law of prägnanz......Page 98
Thinking, memory, and expectation......Page 99
The Principles of Pattern Perception......Page 103
The law of good continuation......Page 104
Melodic continuity......Page 105
Rhythmic continuation......Page 114
Higher levels of rhythmic organization......Page 122
Metric continuation......Page 127
General Considerations......Page 140
Structural gaps......Page 142
Saturation......Page 147
Melodic completness and closure......Page 150
Rhythmic completeness and closure......Page 155
Harmonic completeness and closure......Page 161
The principle of return......Page 163
The Nature of Shape......Page 169
The Weakining of Shape......Page 172
Uniformity......Page 175
Minimal Differences......Page 190
Texture......Page 197
The Nature of the Evidence......Page 209
Performance and Deviation......Page 211
Expressive performance in the west......Page 212
Expressive deviation in non-western music......Page 215
Ornamentation......Page 216
Ornamentation in the west......Page 218
Ornamentation in oriental music......Page 221
Folk music and primitive music......Page 223
Tonality and Deviation......Page 226
Chromaticism......Page 229
The minor mode in western music......Page 234
Consonance and dissonance......Page 241
VII. The Evidence: Simultaneous and Successive Deviation......Page 245
Sumultaneous Deviation......Page 246
Successive Deviation......Page 258
Indirect evidence......Page 266
Image Processes and Affective Experience......Page 268
Connotation......Page 270
Mood......Page 278
The Role of Mood and Connotation in Affective Experience......Page 281
Connotation, Mood, and Aesthetic Theory......Page 282
Notes to chapter I......Page 285
Notes to chapter II......Page 289
Notes to chapter III......Page 292
Notes to chapter IV......Page 293
Notes to chapter V......Page 295
Notes to chapter VI......Page 296
Notes to chapter VII......Page 302
Notes to chapter VIII......Page 304
Index......Page 307