Musical Forces: Motion, Metaphor, and Meaning in Music (Google eBook)

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Indiana University Press, Oct 12, 2011 - Music - 390 pages
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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 patterns. Larson elegantly demonstrated how rhythm and meter arise from, and are given meaning by, these same musical forces.

  

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Contents

FOREWORD
PREFACE
ACKNOWLEDGMENTS
1
A THEORY OF EXPRESSIVE MEANING
TWO LAMENTO BASSES
THE SINGLEMECHANISM FALLACY
LEARNING STATISTICS AND INTERNAL REPRESENTATION
THE RHYTHM OF COMBINING PHYSICAL MOTIONS
COMBINING MUSICAL PATTERNS
METER AS RHYTHM AND METER AS EXPECTATION
ANALOGIES BETWEEN PITCH PATTERNS AND DURATIONAL PATTERNS
MORE DS
COGNITIVE ISOMORPHISMS
SUMMARY
7

ICON INDEX AND SYMBOL
THE HALLELEJAH FIGURE
THE ATOMIST FALLACY
EMERGENT PROPERTIES
Analogies and Metaphor Theory
MUSICAL MOTION
MUSICAL FORCES
MELODIC EXPECTATION
RHYTHM AND METER
PART 1
2
PATTERN
MEANING
ANALOGY
METAPHOR
HIERARCHIES
ASSOCIATION PROLONGATION AND STRUCTURAL HEARING IN HIERARCHIES
HIERARCHIES IN TONALITY VS ATONALITY AND CONSONANCE VS DISSONANCE
3
WHAT IS MUSICAL MOTION?
CONCEPTUAL METAPHOR AND TEMPORAL MOTION
CONCEPTUAL METAPHOR AND MUSICAL MOTION
THE MOVING MUSIC METAPHOR
THE MUSICAL LANDSCAPE METAPHOR
PARTICIPANT AND OBSERVER
MOTION AND FORCES
THE MUSIC AS MOVING FORCE METAPHOR
OTHER METONYMIES AND METAPHORS FOR MUSICAL MOTION
IS MUSICAL MOTION REAL?
THE PLURALISTIC ONTOLOGY OF MUSICAL MOTION
THE PRIMACY OF MUSICAL MEANING
4
MELODIC GRAVITY
MELODIC MAGNETISM
MUSICAL INERTIA
STABILITY
INTERACTING FORCES
ALGORITHMS FOR QUANTIFYING THE INTERACTION OF MUSICAL FORCES
5
MUSICAL FORCES
OPERATIONS ON ALPHABETS
HIERARCHIES OF ELABORATION
THE STEPWISE DISPLACEMENT OF AURALIZED TRACES
STEP COLLECTIONS AND LEAP COLLECTIONS
THE THEORY AS A SET OF INSTRUCTIONS
REPETITION BROWNES RETROSPECTION OF ANTICIPATION AND SCHENKERS HIDDEN REPETITION
SCHENKER MUSICAL FORCES AND MUSICAL IMPLICATIONS AND REALIZATIONS
KEY DETERMINATION POSITION FINDING MULTIPLE MECHANISMS AND MELODIC EXPECTATION
SUMMARY
6
RHYTHM IS NOT SOLELY A MUSICAL PHENOMENON
RHYTHM IS MORE THAN MERE DURATION
INERTIA AND RHYTHM
INERTIA AND HIERARCHICAL PHYSICAL MOTIONS
METRIC STABILITY AND RHYTHMIC MAGNETISM
RHYTHMIC GRAVITY
ELIDED PATTERNS OF DURATIONS
RHYTHMIC FLOW IN PITCH PATTERNS
SCHUBERTS AM FEIERABEND FROM DIE SCHÖNE MÜLLERIN
HICKORY DICKORY DOCK
TWO JAZZ COMPOSITIONS
CHARLIE PARKERS CONFIRMATION
CONCLUSION
PART 2
8
DISCOURSE ABOUT MUSICAL MOTION
EMPATHY ETHICS AND EXPRESSION
ORDINARY DISCOURSE ABOUT MUSIC
9
MUSICAL INERTIA AND REPRESENTATIONAL MOMENTUM
MUSICAL GRAVITY AND REPRESENTATIONAL GRAVITY
FORCES IN STATIC SITUATIONS
PROCEDURAL VS DECLARATIVE KNOWLEDGE NAÏVE PHYSICS AND AURALPERCEPTION EXPERIMENTS
FINDINGS FROM NEUROSCIENCE
SUMMARY
10
A STUDY OF HIDDEN REPETITION IN TONAL MUSIC LARSON 199798A
A STUDY OF JAZZ MELODY
A STUDY OF PATTERNS IN SCHENKERSFIVE GRAPHIC MUSIC ANALYSES
CONCLUSION
11
TWO THEORISTS
A CONTEMPORARY THEORIST
ANALYSES
My Country Tis of Thee or God Save the QueenKing
A Chopin Impromptu
Bachs Bourréefrom the English Suite in A minor
19
CONCLUSION
12
SUMMARY
13
A MULTILEVEL COMPUTER MODEL
EXPERIMENTAL EVIDENCE
TWONOTE CUES WITH RESPONSES OF VARIED LENGTH
AN ARTIFICIALINTELLIGENCE APPRAISAL
USING LAKES 1987 DATA TO COMPARE NARMOURS IMPLICATIONREALIZATION MODEL WITH THE THEORY OF MUSICAL FORCES
MORE STUDIES WITH RESPONSES OF VARIED LENGTH
CONCLUSIONS
PART 3
14
LIMITS ON CLAIMS POINT TO DIRECTIONS FOR FURTHER RESEARCH
A PARTIAL ACCOUNT
PEDAGOGICAL IMPLICATIONS AS A FURTHER TEST
FORCES AND INTENTION
PHYSICAL FORCES VS MUSICAL FORCES
OTHER FORCES
OTHER METAPHORS
BLISS MUSIC AND MOTION
GLOSSARY
NOTES
BIBLIOGRAPHY
INDEX
MUSICAL MEANING INTERPRETATION
Copyright

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About the author (2011)

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.

Bibliographic information