Shaping Time: Music, the Brain, and PerformanceSchirmer Books, 1995 - 598 páginas Epstein investigates the relationship between the ineffable art of music and the hard science of neurobiology. He integrates philosophic and scientific inquiry to formulate a theory of the fundamental yet elusive quality in music time. Derived from an analytical study of motion, tempo and emotion, Shaping Time offers a theory of the way we percieve, perform and interpret music. Epstein suggests that audience satisfaction with a musical performance results from timing trajectories established by the performer at the beginning of the piece. When the timing of a performance conflicts with audience anticipation, listeners experience physical and affective discomfort. Epstein applies his thesis to a wide range of examples for the repertoire. |
Índice
Chapter One Introduction | 3 |
Time in Music | 10 |
Chapter Two Thoughts for an Ongoing Dialogue | 21 |
Página de créditos | |
Otras 35 secciones no se muestran.
Términos y frases comunes
accelerando acceleration accent Adagio affect Allegro ambiguity Andante articulation aspects beat duration Beethoven's Brahms Brahms's cadence chaos theory Chapter character chord close Coda concept Concerto correlation cresc cubic curve deviation discrepancy discussion downbeat Dvořák earlier eighth notes elements Example feeling function further harmony heard hierarchy hypermeasure hypermeter in-phase indicated initial integral ratios levels Mahler measure mechanisms melody ment Menuetto meter metric metronome markings moderato molto motion motive move movement Mozart msec musicians opening pacing passage percent performance period perspective phase fit phrase piano Piano Concerto played poco Pöppel Presto proportional tempo pulse quarter note rhythm rhythmic ritard rubato Scherzo score seems seen in Ex segments sense shape shown in Ex slower song speed Strs structure suggests Symphony tempo relations tension theme tion tonal tonic Trio upbeat Weber Fraction