Contemplating music |
Comentarios de la gente - Escribir un comentario
No encontramos ningún comentario en los lugares habituales.
Contenido
VOLUME | 3 |
Christoph Bernhard Introduction | 41 |
Johann Mattheson Introduction | 63 |
Roger Scruton Introduction | 65 |
Daniel Webb Introduction | 91 |
J J Engel Introduction | 125 |
AFFECT AND EXPRESSION | 127 |
Ludwig Wittgenstein Introduction | 141 |
Introduction to Part Seven | 421 |
Max Weber Introduction | 428 |
from The 6th Book | 443 |
JeanPhilippe Rameau Introduction | 459 |
Gioseffo Zarlino Introduction | 462 |
René Descartes Introduction | 469 |
Hermann Helmholtz Introduction | 559 |
Francis Hutcheson Introduction | 560 |
Immanuel Kant Introduction | 150 |
Susanne K Langer Introduction | 163 |
Eduard Hanslick Introduction | 167 |
Henri Bergson Introduction | 173 |
Deryck Cooke Introduction | 179 |
Preface | 200 |
Nelson Goodman Introduction | 281 |
Roger Sessions Introduction | 286 |
Nicholas Wolterstorff Introduction | 347 |
J W N Sullivan Introduction | 562 |
Heinrich Schenker Introduction | 577 |
Leonard B Meyer Introduction | 599 |
Arnold Schoenberg Introduction | 643 |
Victor Zuckerkandl Introduction | 663 |
Fritz Winckel Introduction | 757 |
Carl Dahlhaus and Introduction | 777 |
Theodor W Adorno Introduction | 791 |
Otras ediciones - Ver todas
Contemplating Music: Source Readings in the Aesthetics of Music Ruth Katz,Carl Dahlhaus Vista previa limitada |
Términos y frases comunes
according actually appears bass become beginning belong called Chapter character chord compliants composer composition concept concerning connection considered continuous correct course derived determine diatessaron dissonance distinction effect emotions equal essential example existence experience expression fact feeling fifth Figure final function fundamental give given hand harmony hear ideas inscriptions instance intervals kind language less major marks matter means measure melody minor mode motion movement nature normative notational notational system object occurrence octave opening original painting particular perception perfect performance phrase playing possible practice predicate present principle produce progression properties purely question reason relation requirements result rules score selected sense seventh shows simple single sixth sound space speak succession suppose symbol theme theory things third tonal tone true understanding whole