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Music And Some Highly Musical People Classic Reprint

 
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MessagePosté le: Sam 1 Juil - 15:18 (2017)    Sujet du message: Music And Some Highly Musical People Classic Reprint Répondre en citant


Music and Some Highly Musical People (Classic Reprint)
by James M. Trotter
rating: ( reviews)


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Excerpt from Music and Some Highly Musical People

The purposes of this volume will be so very apparent to even the most casual observer, as to render an extended explanation here unnecessary. The author will therefore only say, that he has endeavored faithfuny to perform what he was convinced was a much-needed service, not so much, perhaps, to the cause of music itself, as to some of its noblest devotees and the race to which the latter belong.

The inseparable relationship existing between music and its worthy exponents gives, it is believed, full showing of pro priety to the course hereinafter pursued, - that of mingling the praises of both. But, in truth, there was little need to speak in praise of music. Its tones'of melody and harmony require only to be heard in order to awaken in the breast emotions the most delightful. And yet who can speak at all of an agency so shaming in other than words of warmest praise? Again: if music be a thing of such consummate beauty, what else can be done but to tender an offering of praise, and even of gratitude, to those, who, by the invention of most pleasing combinations of tones, melodies, and harmonies, or by great skill in vocal or instrumental performance, so signally help us to the fullest understanding and enjoyment of it?

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.


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price: $0.00
bound: 536 pages
publisher: Forgotten Books (May 3, 2017)
lang: English
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isbn: 1330092171, 978-1330092170,
weight: 1.6 pounds (
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The reason given for the restriction is usually that it is easier to understand how music with an accompanying text, say, could express the emotions evident in the textThere currently seems to be as much interest in the methodological questions as in first-order theorizingHis second claim is questionable, since it seems that, like many other things, one can only correctly judge the value of something in terms of the kind of thing it really is (Walton 1970, 1988), and the kinds of things musical works, performances, and so on, are is precisely the central question of musical ontologyMay not contain Access Codes or SupplementsThe ‘arousal theory’ is, at its simplest, the claim that the expressiveness of a passage of music amounts to its tendency to arouse that emotion in an understanding listenerLearning vocabulary, memorizing facts or reading to this music is highly effectiveA glance at the history of musicBrowse Now Advanced Search > With an active marketplace of over 175 million items, use the Alibris Advanced Search Page to find any item you are looking forCalming the Emotions Chinese music that actually does calm and appeals to all ages.Accelerating Learning

Provides a variety of sounds.Best of World Dance Musicthe Power, Beauty, and Uses of Music.David Davies argues that musical works, like all works of art, are actions, in particular the compositional actions of their composers (2004)Miles, ElizabethOn the other hand, by endorsing an aesthetic condition, Hamilton is forced to exclude scales and Muzak, for instance, from the realm of musicAnother is the assumption that authenticity is an evaluative concept, in the sense that ‘authentic’ implies ‘good’Baroque music, such as that composed by Bach, Handel or Telemann, that is 50 to 80 beats per minute creates an atmosphere of focus that leads students into deep concentration in the alpha brain wave stateIt is less puzzling how a musical setting of a maudlin text could be expressive of sadness, for instance, than how a piece of music without even a programmatic text could be, since the emotional expression could somehow be transferred to the music from the text

A less therapeutic approach is the suggestion that, since these emotions are without ‘life implications’ (that is, as discussed above, we are not sad about anything), we are able to take advantage of our responses to savor these emotions, gain an understanding of them, and be reassured that we have the capacity to feel them (Levinson 1982)Thus it seems implausible to claim the music's fearfulness resides in its arousal of fear in usContinue to display visuals until all have been seenThis article, based on extensive research and experiences, will provide you with successful and valuable guidelines for incorporating music into the teaching and learning environment-- applicable to all ages and educational settingsHe objects, however, that such an account cannot be the whole, or even the most fundamental part of the story (Levinson 1996b, 2006c)Works can be ontologically ‘thicker’ or ‘thinner’ as a result of the specifications of a composer working within certain conventions (1991, 2001)Alameda, California: Hunter House, Inc., 1995Your understanding of a given piece or style may be deeper than mine, while the reverse is true for another piece or styleWriting songs related to content allows students to express how they feel about issues brought up in historic incidents, social studies topics or literatureWelcoming Music

We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelvesMuch of this debate over the fundamental ontological category to which musical works belong has turned on ‘technical’ issues, that is, controversial general metaphysical claims about the nature of properties, causation, embodiment, and so on (e.gThus, though we would not seek out the death of a loved one, given the death we ‘welcome’ the sorrow (Walton 1990, 255–9)This strategy raises once more the question of the nature of musical works, and whether traditional forms of metaphysical argument are appropriate in the cultural realmTune Your Brain: Using Music to Manage Your Mind, Body, and MoodNew York: Quill/HarperCollins, 1997

You will probably also find techniques that do not resonate for you5 are essential to it, then one cannot authentically instance the work using a grand piano instead of a harpsichordHamilton explicitly asserts that the conditions he defends are ‘salient features’ of an unavoidably vague phenomenonHowever, it seems reasonable to ask for more detailed examples since, on the one hand, we surely do feel sad in response to tragedy and, on the other, it is not obvious that we do not feel pity (or imagined pity, or whatever one's preferred theory of emotional response to fiction posits) in response to tragic music4The Mind Behind the Musical Ear: How Children Develop Musical IntelligenceThe more properties of an authentic performance a particular work specifies, the thicker it isDavies 1994 and part II of Gracyk & Kania 2011.) There is a second group of questions centered around listeners' emotional responses to musicMost people agree that music's relation to emotion is more like that of a sad face than that of a sentenceMusic is a powerful tool for understanding other cultures and bonding with one another 2ffeafca65



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