Conceptualizing Music: Cognitive Structure, Theory, and AnalysisOxford University Press, 2002. 11. 14. - 376페이지 This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles. |
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4 페이지
... relation to other competencies; and Allan Keiler, “The Origins of Schenker's Thought: How Man Is Musical,” Journal of Music Theory 33 (1989): 273–98, on a nineteenth-century conception of musical faculties akin to musical competence. 4 ...
... relation to other competencies; and Allan Keiler, “The Origins of Schenker's Thought: How Man Is Musical,” Journal of Music Theory 33 (1989): 273–98, on a nineteenth-century conception of musical faculties akin to musical competence. 4 ...
7 페이지
... help, to fulfillment, he ran into the smithy, and through a great variety of experiments he discovered that what stood in direct relation to the difference in the sound was the weight of the hammers, not the force 7 conceptualizing music.
... help, to fulfillment, he ran into the smithy, and through a great variety of experiments he discovered that what stood in direct relation to the difference in the sound was the weight of the hammers, not the force 7 conceptualizing music.
10 페이지
... relations through ratios) but also with earlier harmonic theorists whose empirical work he found deficient because they did not explain their methods of proof or properly describe their observations. Aristoxenus's alternative was to ...
... relations through ratios) but also with earlier harmonic theorists whose empirical work he found deficient because they did not explain their methods of proof or properly describe their observations. Aristoxenus's alternative was to ...
16 페이지
... relations, and conceptions of musical form and musical hierarchy. Chapter 1 begins the overview of research in cognitive science with a close look at processes of categorization. For centuries, writers in the West regarded categories as ...
... relations, and conceptions of musical form and musical hierarchy. Chapter 1 begins the overview of research in cognitive science with a close look at processes of categorization. For centuries, writers in the West regarded categories as ...
18 페이지
... relations were considered in chapter 2, here research on conceptual blending is applied to the whole of five Lieder from the nineteenth century. These analyses offer a way to flesh out the theory of conceptual blending as it applies to ...
... relations were considered in chapter 2, here research on conceptual blending is applied to the whole of five Lieder from the nineteenth century. These analyses offer a way to flesh out the theory of conceptual blending as it applies to ...
목차
3 | |
21 | |
PART II ANALYSIS AND THEORY | 135 |
Cognitive Structure Theory and Analysis | 325 |
Bibliography | 335 |
Index | 353 |
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analysis appears approach associated attributes basic becomes Beethoven beginning bells blend called Cambridge century changes chapter chord cognitive complete compositional conceptual models construction continued correlated course create cresc cultural describe developed discourse discussion distinction domain elements evidence example figure follows function further give given harmonic hierarchy human idea important instance intervals involves knowledge language less major mapping materials means measures melody mind minor motive movement music theory nature notion objects offers opening organization original pattern performance perspective phrase pitches play poem possible present Press principal recorded reflects relations relationships relatively represent result rhetoric Rhythm rhythmic Schenker shown similar song sort sound space specific statements strategies structure suggests syntax takes things third thought tion tune turn typical understanding University University Press variant voice
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66 페이지 - MY HEART aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk...
169 페이지 - I know what you're thinking about," said Tweedledum: "but it isn't so nohow." " Contrariwise," continued Tweedledee, " if it was so, it might be ; and if it were so, it would be : but as it isn't, it ain't. That's logic.
114 페이지 - Seeing this gradation and diversity of structure in one small, intimately related group of birds, one might really fancy that from an original paucity of birds in this archipelago, one species had been taken and modified for different ends.
287 페이지 - If you knew Time as well as I do/ said the Hatter, 'you wouldn't talk about wasting IT. It's HIM.' 'I don't know what you mean/ said Alice.
313 페이지 - ... to derive two or three general principles of motion from phenomena, and afterwards to tell us how the properties and actions of all corporeal things follow from those manifest principles, would be a very great step in philosophy, though the causes of those principles were not yet discovered: and therefore I scruple not to propose the principles of motion above mentioned, they being of very general extent, and leave their causes to be found out.
313 페이지 - As in Mathematicks, so in Natural Philosophy, the Investigation of difficult Things by the Method of Analysis, ought ever to precede the Method of Composition. This Analysis consists in making Experiments and Observations, and in drawing general Conclusions from them by Induction, and admitting of no Objections against the Conclusions, but such as are taken from Experiments, or other certain Truths. For Hypotheses are not to be regarded in experimental Philosophy.
287 페이지 - I think you might do something better with the time," she said, "than wasting it in asking riddles that have no answers.
3 페이지 - ... by fashioning for us facsimiles of those fugitive phrases, enable us to compare and to contrast them with those that follow. And so, scarcely had the exquisite sensation which Swann had experienced died away, before his memory had furnished him with an immediate transcript, sketchy, it is true, and provisional, which he had been able to glance at while the piece continued, so that, when the same impression suddenly returned, it was no longer impossible to grasp.
266 페이지 - Rhein, im schönen Strome, Da spiegelt sich in den Welln Mit seinem großen Dome Das große, heilige Köln. Im Dom, da steht ein Bildnis, Auf goldenem Leder gemalt/ In meines Lebens Wildnis Hat's freundlich hineingestrahlt. Es schweben Blumen und Englein Um unsere liebe Frau,. Die Augen, die Lippen, die Wänglein, Die gleichen der Liebsten genau. 12. Du liebst mich nicht, du liebst mich nicht, Das kümmert mich gar wenig/ Schau' ich dir nur ins Angesicht, So bin ich froh wie 'n König.
287 페이지 - I don't know what you mean," said Alice. "Of course you don't!" the Hatter said, tossing his head contemptuously. "I dare say you never even spoke to Time ! " " Perhaps not," Alice cautiously replied : " but I know I have to beat time when I learn music." « . "Ah! that accounts for it," said the Hatter. "He won't stand beating. Now, if you only kept on good terms with him, he'd do almost anything you liked with the clock. For instance, suppose it were nine o'clock in the morning, just time to begin...