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Foundations of musical grammar /

Foundations of Musical Grammar makes a unique contribution to music theory by building on recent research in cognitive science and theoretical perspectives adopted from cognitive linguistics to present an account of the foundations of musical grammar. In presenting this account, it engages with musi...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Zbikowski, Lawrence Michael (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: New York, NY : Oxford University Press, [2017]
Colección:Oxford studies in music theory.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Foundations of musical grammar /  |c Lawrence M. Zbikowski. 
264 1 |a New York, NY :  |b Oxford University Press,  |c [2017] 
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500 |a Includes index. 
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505 0 |a Cover; Half Title; Series; Foundations of Musical Grammar; Copyright; Dedication; Contents; Preface; Acknowledgments; 1. Origins; Music and Language in Human Cultures; Foundations of Musical Grammar; Musical Grammar and Music Theory; 2. Music and Analogy; Analogy; Perceptual Symbol Systems, Embodied Knowledge, and Analogy; Sonic Analogs and Systems of Reference; Sonic Analogs for Dynamic Processes; Analogy and Imagination; Conclusion; 3. Music and Emotion; Recent Research on Emotion; Recent Research on Music and Emotion; Music, Emotions, and Sonic Analogs; Conclusion; 4. Music and Gesture. 
505 8 |a Gesture and LanguageThe Infrastructure of Human Communication; Music and Movement; Music and Gesture; Conclusion; 5. Music and Dance; Music and Dance in the Ancien Régime; Of Waltzes and Waltz Music; Conclusion: Music, Social Dance, and Musical Grammar; 6. Music and Words; "Über allen Gipfeln ist Ruh"; Music, Words, and Song; Conclusion; 7. Questions, Answers, Questions; Sonic Analogs for Dynamic Processes; The Elements of Musical Grammar; Prospects for a Cognitive Grammar of Music; Works Cited; Index. 
520 |a Foundations of Musical Grammar makes a unique contribution to music theory by building on recent research in cognitive science and theoretical perspectives adopted from cognitive linguistics to present an account of the foundations of musical grammar. In presenting this account, it engages with music and the emotions, gesture, and social dance. 
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