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aesthetic interest aesthetics of music appreciation argues art music artistic audience Beethoven Brahms Carl Dahlhaus Century characterize claim composer composition concept contemporary music context conventions culture Dahlhaus depiction discussion distinction emotions emotivist essay evaluation example expressive fact Francis Sparshott function harmony hear heard human idea improvisation individual instruments interest in music Joseph Margolis kind language means melody music history music-making musical experience musical form musical practice musicology nature Nelson Goodman notion object obligation painting particular musical perception performance perhaps Peter Kivy philosophical physical picture piece of music pitch play popular music possible program music qualities question relation representation rhythm Roger Scruton Romantic rules Schoenberg score seeing-in semantic theory semiotic sense social society song sort Sparshott specific standards structural listening structuralist style suggests Susanne Langer symphony things tion tonal tone tradition trans understanding University Press vocal Western York