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Music in the Moment
What is required for a listener to understand a piece of music? Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not. In contrast to what is commonly assumed, Levinson argues that basic understanding of music...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Autor Corporativo: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Ithaca, N.Y. :
Cornell University Press,
1997.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Levinson, Jerrold. | |
| 245 | 1 | 0 | |a Music in the Moment |h [electronic resource] / |c Jerrold Levinson. |
| 260 | |a Ithaca, N.Y. : |b Cornell University Press, |c 1997. |e (Baltimore, Md. : |f Project MUSE, |g 2015) | ||
| 300 | |a 1 online resource (xii, 184 p. :) |b music | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 504 | |a Includes bibliographical references (p. 176-179) and index. | ||
| 588 | |a Description based on print version record. | ||
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Musical Illustrations -- |t Preface / |r Levinson, Jerrold -- |t 1. Edmund Gurney And The Experience Of Music -- |t 2. Statement And Elaboration Of Concatenationism -- |t 3. Initial Defense Of Concatenationism -- |t 4. Concatenationism And Causality -- |t 5. Large-Scale Relationships In Music -- |t 6. Sonata And Other Forms -- |t 7. Further Challenges I -- |t 8. Further Challenges II -- |t 9. Concatenationism, Musical Value, And Musical Form -- |t Works Cited -- |t Index |
| 520 | |a What is required for a listener to understand a piece of music? Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not. In contrast to what is commonly assumed, Levinson argues that basic understanding of music only requires properly grounded, present-focused attention, and that virtually everything in the comprehension of extended pieces of music that suggests explicit architectonic awareness can be explained without positing conscious grasp of relationships across broad spans.Levinson rejects the notion that keeping music's large-scale form before the mind is somehow essential to fundamental understanding of it. As evidence, he describes in detail the experience of listening to a wide range of music. He defends, with some qualifications, the views of nineteenth-century musician and psychologist Edmund Gurney, author of The Power of Sound, who argued that musical comprehension requires only attention to the evolution of music from moment to moment.Music theory standardly misapprehends the experience and mindset of most who know and love classical music, concludes Levinson. His book is a defense of the passionate and attentive, though architectonically unconcerned, music listener. | ||
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| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
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| 650 | 0 | |a Musical perception. | |
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