Comparing notes: how we make sense of music
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Profile Books
2017
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | viii, 344 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781781256039 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV044349599 | ||
| 003 | DE-604 | ||
| 005 | 20230301 | ||
| 007 | t | ||
| 008 | 170614s2017 agl| |||| 00||| eng d | ||
| 020 | |a 9781781256039 |c hardback |9 978-1-78125-603-9 | ||
| 035 | |a (OCoLC)1002253905 | ||
| 035 | |a (DE-599)BVBBV044349599 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-12 | ||
| 084 | |a MUS |q DE-12 |2 fid | ||
| 100 | 1 | |a Ockelford, Adam |d 1959- |e Verfasser |0 (DE-588)1031118853 |4 aut | |
| 245 | 1 | 0 | |a Comparing notes |b how we make sense of music |
| 264 | 1 | |a London |b Profile Books |c 2017 | |
| 300 | |a viii, 344 Seiten |b Illustrationen, Notenbeispiele | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 505 | 8 | |a Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning | |
| 505 | 8 | |a Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work | |
| 505 | 8 | |a Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index | |
| 650 | 0 | 7 | |a Musikalische Semiotik |0 (DE-588)4195308-3 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Musikalische Semiotik |0 (DE-588)4195308-3 |D s |
| 689 | 0 | |5 DE-604 | |
| 776 | 0 | 8 | |i Print version |a Ockelford, Adam |t Comparing Notes : How We Make Sense of Music |d London : Profile Books,c2017 |z 9781781256039 |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-029752430 | ||
| 942 | 1 | 1 | |c 780.1 |e 22/bsb |
| 942 | 1 | 1 | |c 780 |e 22/bsb |
Datensatz im Suchindex
| _version_ | 1804177589365899264 |
|---|---|
| adam_text | Contents
Acknowledgements viii
Prelude Insights from the Blind i
1. How Does Music Work? io
Heinrich Schenker: The Radical Conservative 11
Positivism and Postmodern Approaches 19
Music Analysis Using Linguistic Models 25
Explaining Music in its Own Terms: Arnold Schoenberg 35
Degrees of Repetition 38
Intervals and Transposition 44
Coda 49
2. The Zygonic Conjecture 5 2
Derek 55
Building a New Theory of How Music Works 61
Connections between Connections 72
Frameworks of Pitch 81
Rhythm and Metre 96
Timbre, Loudness and Location 108
Coda 113
3. How We Construct Musical Meaning 121
Structure in Music and Syntax in Language 122
Responding to Sound 123
Structure and Content in Music 124
Meaning in Language 128
Meaning in Music: The Art of Simplicity in Sound 132
Complexity and the Problem of‘Greatness’ 146
Other Forms of Musical Meaning 158
Defining Music 165
What isn t Music? 168
Coda 177
4. We Are All Musical 180
From Music Theory to Developmental Psychology 183
The Sounds of Intent Project 191
Musicality in Blind Children and Those on the Autism Spectrum 205
Exceptional Musical Ability: Savants 216
Coda 227
5. Composing, Performing and Listening 230
The Challenge of Understanding Composers’Work 231
Defining Originality in Music 245
What Constitutes a Piece of Music? 264
Understanding the Listening Experience 275
The Problem of‘Atonal’Music 287
Coda 295
Postlude -Notes Compared 302
Further Reading 322
List of Figures 327
Index 333
|
| any_adam_object | 1 |
| author | Ockelford, Adam 1959- |
| author_GND | (DE-588)1031118853 |
| author_facet | Ockelford, Adam 1959- |
| author_role | aut |
| author_sort | Ockelford, Adam 1959- |
| author_variant | a o ao |
| building | Verbundindex |
| bvnumber | BV044349599 |
| contents | Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index |
| ctrlnum | (OCoLC)1002253905 (DE-599)BVBBV044349599 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02875nam a2200385 c 4500</leader><controlfield tag="001">BV044349599</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20230301 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">170614s2017 agl| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781781256039</subfield><subfield code="c">hardback</subfield><subfield code="9">978-1-78125-603-9</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1002253905</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV044349599</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">MUS</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Ockelford, Adam</subfield><subfield code="d">1959-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1031118853</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Comparing notes</subfield><subfield code="b">how we make sense of music</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">London</subfield><subfield code="b">Profile Books</subfield><subfield code="c">2017</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">viii, 344 Seiten</subfield><subfield code="b">Illustrationen, Notenbeispiele</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Musikalische Semiotik</subfield><subfield code="0">(DE-588)4195308-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Musikalische Semiotik</subfield><subfield code="0">(DE-588)4195308-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version</subfield><subfield code="a">Ockelford, Adam</subfield><subfield code="t">Comparing Notes : How We Make Sense of Music</subfield><subfield code="d">London : Profile Books,c2017</subfield><subfield code="z">9781781256039</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-029752430</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.1</subfield><subfield code="e">22/bsb</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780</subfield><subfield code="e">22/bsb</subfield></datafield></record></collection> |
| id | DE-604.BV044349599 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:50:29Z |
| institution | BVB |
| isbn | 9781781256039 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029752430 |
| oclc_num | 1002253905 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | viii, 344 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Profile Books |
| record_format | marc |
| spelling | Ockelford, Adam 1959- Verfasser (DE-588)1031118853 aut Comparing notes how we make sense of music London Profile Books 2017 viii, 344 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index Musikalische Semiotik (DE-588)4195308-3 gnd rswk-swf Musikalische Semiotik (DE-588)4195308-3 s DE-604 Print version Ockelford, Adam Comparing Notes : How We Make Sense of Music London : Profile Books,c2017 9781781256039 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Ockelford, Adam 1959- Comparing notes how we make sense of music Copyright Page; Contents; Dedication; Acknowledgements; Prelude: Insights from the Blind; Chapter 1: How Does Music Work?; Heinrich Schenker: The Radical Conservative; Positivism and Postmodern Approaches; Music Analysis Using Linguistic Models; Explaining Music in its Own Terms: Arnold Schoenberg; Degrees of Repetition; Intervals and Transposition; Coda; Chapter 2: The Zygonic Conjecture; Derek; Building a New Theory of How Music Works; Connections between Connections; Frameworks of Pitch; Rhythm and Metre; Timbre, Loudness and Location; Coda; Chapter 3: How We Construct Musical Meaning Structure in Music and Syntax in LanguageResponding to Sound; Structure and Content in Music; Meaning in Language; Meaning in Music: The Art of Simplicity in Sound; Complexity and the Problem of 'Greatness'; Other Forms of Musical Meaning; Defining Music; What isn't Music?; Coda; Chapter 4: We Are All Musical; From Music Theory to Developmental Psychology; The Sounds of Intent Project; Musicality in Blind Children and Those on the Autism Spectrum; Exceptional Musical Ability: Savants; Coda; Chapter 5: Composing, Performing and Listening; The Challenge of Understanding Composers' Work Defining Originality in MusicWhat Constitutes a Piece of Music?; Understanding the Listening Experience; The Problem of 'Atonal' Music; Coda; Postlude: Notes Compared; Notes; Further Reading; List of Figures; Index Musikalische Semiotik (DE-588)4195308-3 gnd |
| subject_GND | (DE-588)4195308-3 |
| title | Comparing notes how we make sense of music |
| title_auth | Comparing notes how we make sense of music |
| title_exact_search | Comparing notes how we make sense of music |
| title_full | Comparing notes how we make sense of music |
| title_fullStr | Comparing notes how we make sense of music |
| title_full_unstemmed | Comparing notes how we make sense of music |
| title_short | Comparing notes |
| title_sort | comparing notes how we make sense of music |
| title_sub | how we make sense of music |
| topic | Musikalische Semiotik (DE-588)4195308-3 gnd |
| topic_facet | Musikalische Semiotik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029752430&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ockelfordadam comparingnoteshowwemakesenseofmusic |