Comparing notes: how we make sense of music
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
London
Profile Books
2017
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | viii, 344 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781781256039 |
Internformat
MARC
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| 100 | 1 | |a Ockelford, Adam |d 1959- |e Verfasser |0 (DE-588)1031118853 |4 aut | |
| 245 | 1 | 0 | |a Comparing notes |b how we make sense of music |
| 264 | 1 | |a London |b Profile Books |c 2017 | |
| 300 | |a viii, 344 Seiten |b Illustrationen, Notenbeispiele | ||
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| 505 | 8 | |a Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning | |
| 505 | 8 | |a Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work | |
| 505 | 8 | |a Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index | |
| 650 | 0 | 7 | |a Musikalische Semiotik |0 (DE-588)4195308-3 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Musikalische Semiotik |0 (DE-588)4195308-3 |D s |
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Datensatz im Suchindex
| _version_ | 1819328383272615936 |
|---|---|
| adam_text | Contents
Acknowledgements viii
Prelude Insights from the Blind i
1. How Does Music Work? io
Heinrich Schenker: The Radical Conservative 11
Positivism and Postmodern Approaches 19
Music Analysis Using Linguistic Models 25
Explaining Music in its Own Terms: Arnold Schoenberg 35
Degrees of Repetition 38
Intervals and Transposition 44
Coda 49
2. The Zygonic Conjecture 5 2
Derek 55
Building a New Theory of How Music Works 61
Connections between Connections 72
Frameworks of Pitch 81
Rhythm and Metre 96
Timbre, Loudness and Location 108
Coda 113
3. How We Construct Musical Meaning 121
Structure in Music and Syntax in Language 122
Responding to Sound 123
Structure and Content in Music 124
Meaning in Language 128
Meaning in Music: The Art of Simplicity in Sound 132
Complexity and the Problem of‘Greatness’ 146
Other Forms of Musical Meaning 158
Defining Music 165
What isn t Music? 168
Coda 177
4. We Are All Musical 180
From Music Theory to Developmental Psychology 183
The Sounds of Intent Project 191
Musicality in Blind Children and Those on the Autism Spectrum 205
Exceptional Musical Ability: Savants 216
Coda 227
5. Composing, Performing and Listening 230
The Challenge of Understanding Composers’Work 231
Defining Originality in Music 245
What Constitutes a Piece of Music? 264
Understanding the Listening Experience 275
The Problem of‘Atonal’Music 287
Coda 295
Postlude -Notes Compared 302
Further Reading 322
List of Figures 327
Index 333
|
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| contents | Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index |
| ctrlnum | (OCoLC)1002253905 (DE-599)BVBBV044349599 |
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| illustrated | Illustrated |
| indexdate | 2024-12-20T18:00:36Z |
| institution | BVB |
| isbn | 9781781256039 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029752430 |
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| physical | viii, 344 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Profile Books |
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| spellingShingle | Ockelford, Adam 1959- Comparing notes how we make sense of music Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index Musikalische Semiotik (DE-588)4195308-3 gnd |
| subject_GND | (DE-588)4195308-3 |
| title | Comparing notes how we make sense of music |
| title_auth | Comparing notes how we make sense of music |
| title_exact_search | Comparing notes how we make sense of music |
| title_full | Comparing notes how we make sense of music |
| title_fullStr | Comparing notes how we make sense of music |
| title_full_unstemmed | Comparing notes how we make sense of music |
| title_short | Comparing notes |
| title_sort | comparing notes how we make sense of music |
| title_sub | how we make sense of music |
| topic | Musikalische Semiotik (DE-588)4195308-3 gnd |
| topic_facet | Musikalische Semiotik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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