Contemplating music: source readings in the aesthetics of music. ImportRuth Katz Pendragon Press, 1989 - 797 pages |
Table des matières
Introduction to Volume | 3 |
St Augustine Introduction | 7 |
Tinctoris Introduction | 35 |
Vincenzo Galilei Introduction | 51 |
Preface | 58 |
Marin Mersenne Introduction | 77 |
Johannes A Scheibe Introduction | 113 |
Wilhelm H Wackenroder Introduction | 129 |
Roger Sessions Introduction | 479 |
PART FIVE | 495 |
Introduction to Part I | 497 |
René Descartes Introduction | 501 |
Paul Honigsheim Introduction | 503 |
Francis Hutcheson Introduction | 527 |
Alexander G Baumgarten Introduction | 571 |
W A Zhdannov Introduction | 573 |
Arthur Schopenhauer Introduction | 132 |
Friedrich T Vischer Introduction | 139 |
Leonard B Meyer Introduction | 159 |
Peter Kivy Introduction | 205 |
Roger Scruton Introduction | 227 |
PART FOUR | 261 |
Introduction to Part II | 263 |
Claudius Ptolemy Introduction | 267 |
CONCEPTION AND PERCEPTION | 269 |
Gioseffo Zarlino Introduction | 297 |
Moriz Lazarus Introduction | 309 |
J W N Sullivan Introduction | 313 |
Introduction to Volume 1 | 317 |
August W Ambros Introduction | 336 |
Henri Bergson Introduction | 395 |
John Dewey Introduction | 449 |
George W F Hegel Introduction | 466 |
Hermann Kretzschmar Introduction | 615 |
Heinrich Schenker Introduction | 617 |
Arnold Schering from Zur Grundlegung | 630 |
Susanne K Langer Introduction | 637 |
J J Engel Introduction | 638 |
Johann F Herbart Introduction | 640 |
Eduard Hanslick Introduction | 650 |
John H Mueller Introduction | 653 |
viii | 657 |
Victor Zuckerkandl Introduction | 660 |
Leonard B Meyer Introduction | 677 |
Claude LéviStrauss Introduction | 719 |
from The Naked Man | 743 |
from Myth and Meaning | 766 |
Umberto Eco Introduction | 773 |
Autres éditions - Tout afficher
Contemplating music: source readings in the aesthetics of music. Import Ruth Katz Aucun aperçu disponible - 1989 |
Expressions et termes fréquents
according activity aesthetic affective appear artistic aspect beauty become beginning behavior believe body called character composer composition concept concerning connection consequent considered consonances continuous course distinct emotional equal example existence expectations experience explain expression fact feeling give given greater hand harmony hear human ideas images imagination important individual intervals kind knowledge language less listener material matter meaning measure melody mind motion movement moving nature necessary notes object observed octave organization particular pattern perceive perception perfect person play pleasure poetic position possible present produced pure question ratio reason relation relationship represented response result rhythm seems sense sing situation soul sound space speak stimulus structures symbolic theory things third thought tones true understanding voice whole