MARC Record from marc_columbia

LEADER: 03158cam a22003854a 4500
001 7524355
005 20221201010041.0
008 081222s2009 iluag b 001 0 eng c
010 $a 2008055137
020 $a9780226425962 (cloth : alk. paper)
020 $a9780226425979 (pbk. : alk. paper)
020 $a0226425967 (cloth : alk. paper)
020 $a0226425975 (pbk. : alk. paper)
024 $a40017403520
035 $a(OCoLC)ocn297405968
035 $a(OCoLC)297405968
035 $a(NNC)7524355
035 $a7524355
040 $aICU/DLC$cDLC$dBTCTA$dUKM$dC#P$dOrLoB-B
042 $apcc
050 00 $aML60$b.K18 2009
082 00 $a781.6/8117$222
100 1 $aKatz, Ruth,$d1927-$0http://id.loc.gov/authorities/names/n81091384
245 12 $aA language of its own :$bsense and meaning in the making of Western art music /$cRuth Katz.
260 $aChicago :$bUniversity of Chicago Press,$c2009.
300 $axxiii, 354 pages :$billustrations, music ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
505 00 $gIntroduction.$tThe Guiding Conception of Western Art Music -- $gPt. I.$tThe Structuring of a Self-Referential World -- $g1.$tThe Making of Musical Building Blocks -- $tPreliminary Clarifications -- $tThe Development of Western Notation and Its Significance -- $tMusical Frameworks as Referential Systems -- $g2.$tSystematizing Musical Laws -- $tThe Self-Chosen Confines of Art -- $tHorizontal and Vertical Elements: A Generating and Controlling Force, Respectively -- $tBestowing a Semblance of "Oneness" on Particles -- $tThe Rise of Harmonic Tonality -- $gPt. II.$tThe Crafting of a "Shared Understanding" -- $g3.$tSeparating 'Sense' from 'Meaning' -- $tNatural Languages: Some Relevant Points -- $tThe Power to Occasion an Atmosphere -- $tDemystifying an Elusive Agenda -- $tThe Sign and the Signified in Western Music -- $g4.$tProbing the Limits of Musical Coherence -- $tThe Referential Function of Learned Schemata: External versus Internal References -- $tPerception Replacing Conception -- $tTantalizing the Ear and Luring the Mind -- $tThe Flaunting of Identities: Individual and Collective -- $tMusic as a Cultural Subsystem -- $gPt. III.$tThe Retreat from the "Shared Understanding" -- $g5.$tA Shift in Thought and Theory -- $tThe Organic Nature of the Theoretical Presuppositions of Music in the West -- $tThe Romantic Era from a Bird's-Eye View -- $tSome Characteristics of the "Turn" of the Century -- $tLandmarks in a New "Tonal" Environment -- $g6.$tThe Appropriation of Musical Meaning -- $tThe Rise of a Heteronomous Aesthetic -- $tThe General Distrust of Categorical Systems -- $tThe Pliability of the Nonrepresentational.
650 0 $aMusic.$0http://id.loc.gov/authorities/subjects/sh85088762
650 0 $aMusic$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh85088794
650 0 $aMusic$xSocial aspects.$0http://id.loc.gov/authorities/subjects/sh85088891
650 0 $aMusic$xPhilosophy and aesthetics.$0http://id.loc.gov/authorities/subjects/sh85088808
852 00 $bmus$hML60$i.K18 2009