<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual composition to the musical form. In a painting, for example, the forces of visual composition are essential for aesthetic enjoyment; in music, sounds are essential as they are always occurring in time, and this constitutes the main dynamic vector of music. Starting with the tetrachord of ancient Greek music and analysing the relationships between notes in the major and minor scales, Arnheim identifies what in the Western musical tradition represents the basis on which each note must relate: the tonal centre, the attractive motor that determines the perceptual dynamics of musical expression. Two examples, taken from Schubert and Béla Bartók, show us how the structure of the melodic construction is essential in generating different states of mind; Arnheim, however, does not stop at the simple eliciting of an emotion, but situates the musical structure in a more general framework, which refers to perceptual patterns belonging to any sphere, mental or physical, thanks to which we experience our reality.</p>
</abstract>

A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual composition to the musical form. In a painting, for example, the forces of visual composition are essential for aesthetic enjoyment; in music, sounds are essential as they are always occurring in time, and this constitutes the main dynamic vector of music. Starting with the tetrachord of ancient Greek music and analysing the relationships between notes in the major and minor scales, Arnheim identifies what in the Western musical tradition represents the basis on which each note must relate: the tonal centre, the attractive motor that determines the perceptual dynamics of musical expression. Two examples, taken from Schubert and Béla Bartók, show us how the structure of the melodic construction is essential in generating different states of mind; Arnheim, however, does not stop at the simple eliciting of an emotion, but situates the musical structure in a more general framework, which refers to perceptual patterns belonging to any sphere, mental or physical, thanks to which we experience our reality.

Rudolf Arnheim: Perceptive dynamics in musical expression

Department of Life Sciences, Psychology Unit ‘Gaetano Kanizsa’

Gestalt Theory

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

{"article-title":"Rudolf Arnheim: Perceptive dynamics in musical expression"}

A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual...

Rudolf Arnheim: Perceptive dynamics in musical expression

Data publikacji: 02 maj 2024

Zakres stron: 225 - 233

DOI: https://doi.org/10.2478/gth-2023-0019

Słowa kluczowe
Arnheim, visual composition, musical form, dynamic structures, musical expression

© 2023 Walter Coppola, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Rudolf Arnheim: Perceptive dynamics in musical expression

Data publikacji: 02 maj 2024

Zakres stron: 225 - 233

DOI: https://doi.org/10.2478/gth-2023-0019

Słowa kluczoweArnheim, visual composition, musical form, dynamic structures, musical expression

© 2023 Walter Coppola, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Słowa kluczowe
Arnheim, visual composition, musical form, dynamic structures, musical expression