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Steve Larson drew on his 20 years of research in music theory, cognitive linguistics, experimental psychology, and artificial intelligence-as well as his skill as a jazz pianist-to show how the experience of physical motion can shape one's musical experience. Clarifying the roles of analogy, metaphor, grouping, pattern, hierarchy, and emergence in the explanation of musical meaning, Larson explained how listeners hear tonal music through the analogues of physical gravity, magnetism, and inertia. His theory of melodic expectation goes beyond prior theories in predicting complete melodic…mehr
Steve Larson drew on his 20 years of research in music theory, cognitive linguistics, experimental psychology, and artificial intelligence-as well as his skill as a jazz pianist-to show how the experience of physical motion can shape one's musical experience. Clarifying the roles of analogy, metaphor, grouping, pattern, hierarchy, and emergence in the explanation of musical meaning, Larson explained how listeners hear tonal music through the analogues of physical gravity, magnetism, and inertia. His theory of melodic expectation goes beyond prior theories in predicting complete melodic patterns. Larson elegantly demonstrated how rhythm and meter arise from, and are given meaning by, these same musical forces.
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Steve Larson (1955-2011) was the Robert M. Trotter Professor of Music at the University of Oregon and a member of its Institute of Cognitive and Decision Sciences. He was author of Analyzing Jazz: A Schenkerian Approach.
Inhaltsangabe
Acknowledgments Preface 1. Introduction I. A Theory of Musical Forces 2. Thinking about Music and Thinking in Music-Pattern, Meaning, Analogy, Metaphor, and Hierarchies 3. Something in the Way She Moves-The Metaphor of Musical Motion 4. Melodic Forces-Gravity, Magnetism, and Inertia 5. A Theory of Melodic Expectation 6. Rhythm, Meter, and Musical Forces 7. Analyses II. Evidence for Musical Forces 8. Converging Evidence-An Introduction to Part Two 9. Evidence from Experiments in Visual-Perception and Neuroscience 10. Evidence from Compositions and Improvisations 11. Evidence from Music-Theoretical Misunderstandings 12. Evidence from a Listener-Judgment Experiment 13. Evidence from Comparing Computer Models With Production-Experiment Results III. Conclusion 14. Summary and Prospects Glossary Notes Bibliography Index
Acknowledgments Preface 1. Introduction I. A Theory of Musical Forces 2. Thinking about Music and Thinking in Music-Pattern, Meaning, Analogy, Metaphor, and Hierarchies 3. Something in the Way She Moves-The Metaphor of Musical Motion 4. Melodic Forces-Gravity, Magnetism, and Inertia 5. A Theory of Melodic Expectation 6. Rhythm, Meter, and Musical Forces 7. Analyses II. Evidence for Musical Forces 8. Converging Evidence-An Introduction to Part Two 9. Evidence from Experiments in Visual-Perception and Neuroscience 10. Evidence from Compositions and Improvisations 11. Evidence from Music-Theoretical Misunderstandings 12. Evidence from a Listener-Judgment Experiment 13. Evidence from Comparing Computer Models With Production-Experiment Results III. Conclusion 14. Summary and Prospects Glossary Notes Bibliography Index
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