Music, Imagination, and Culture
Seiten
1992
Oxford University Press (Verlag)
978-0-19-816303-9 (ISBN)
Oxford University Press (Verlag)
978-0-19-816303-9 (ISBN)
It is a common experience that words are inadequate for music. Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, this study attempts to make a clear distinction between the province of music theory and that of aesthetic criticism.
It is a common experience that words are inadequate for music; there seems always to be a disparity between how music is experienced, and how it is described or rationalized.
This book is a study of musical imagination. Musicians imagine music by means of functional models which determine certain aspects of the music while leaving others open. This means that there is inevitably a gap between the image and the experience that it models, and this gap can be a source of compositional creativity. Different musical cultures embody different ways of imagining sound as music, and thus every culture creates its own distinctive pattern of discrepancies between image and experience - discrepancies which are reflected in theoretical thinking about music.
Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Nicholas Cook makes a clear distinction between the province of music theory and that of aesthetic criticism. In doing so he affirms the importance of the `ordinary listener' in musical culture, and the validity of his or her experience of music.
It is a common experience that words are inadequate for music; there seems always to be a disparity between how music is experienced, and how it is described or rationalized.
This book is a study of musical imagination. Musicians imagine music by means of functional models which determine certain aspects of the music while leaving others open. This means that there is inevitably a gap between the image and the experience that it models, and this gap can be a source of compositional creativity. Different musical cultures embody different ways of imagining sound as music, and thus every culture creates its own distinctive pattern of discrepancies between image and experience - discrepancies which are reflected in theoretical thinking about music.
Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Nicholas Cook makes a clear distinction between the province of music theory and that of aesthetic criticism. In doing so he affirms the importance of the `ordinary listener' in musical culture, and the validity of his or her experience of music.
Erscheint lt. Verlag | 23.1.1992 |
---|---|
Reihe/Serie | Clarendon Paperbacks |
Zusatzinfo | music examples |
Verlagsort | Oxford |
Sprache | englisch |
Maße | 137 x 217 mm |
Gewicht | 336 g |
Themenwelt | Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre |
Sozialwissenschaften | |
ISBN-10 | 0-19-816303-7 / 0198163037 |
ISBN-13 | 978-0-19-816303-9 / 9780198163039 |
Zustand | Neuware |
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