Musical Forces: Motion, Metaphor, and Meaning in Music by Steve Larson

By Steve Larson

Steve Larson drew on his two decades of analysis in tune idea, cognitive linguistics, experimental psychology, and synthetic intelligence—as good as his ability as a jazz pianist—to convey how the event of actual movement can form one’s musical event. Clarifying the jobs of analogy, metaphor, grouping, development, hierarchy, and emergence within the rationalization of musical which means, Larson defined how listeners pay attention tonal track in the course of the analogues of actual gravity, magnetism, and inertia. His thought of melodic expectation is going past past theories in predicting whole melodic styles. Larson elegantly verified how rhythm and meter come up from, and are given that means by means of, those similar musical forces.

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Extra resources for Musical Forces: Motion, Metaphor, and Meaning in Music (Musical Meaning and Interpretation)

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Oh! ’’ But my head was just filled with things, so I started writing poems, and as I would write poems, for some reason they would come to me as a song. I could do all this rhyme and stuff, but then I could hear the lyric in my head, with the melody. ’’ You know, I’d just go down the line. And so the songs would just lay there. I would just write them. I didn’t know how to get them to anybody, but every time the Regal Theatre in Chicago opened its doors, I was always sitting watching some Motown Revue or somebody.

We used them several times. Then I got [keyboardist and brother of Carla] Marvell Thomas and [guitarist] Michael Toles. That’s where they came in. When we couldn’t get Hi Rhythm, we would move on and get Marvell and Michael. So we didn’t seem to lose anything. We lost maybe that Hi sound, but we still had a good sound. That was important. ’Cause at one point in time almost everything that was coming out of Hi sounded the same. You know, when the introduction hit off—it’s kind of like Malaco— when they hit off, you just know Hi Records.

They would send for me, and I would go and Billy would go with me. I would never go without Billy. And I’d go down there and they would just talk. ’’ I said, ‘‘No. ’’ And I couldn’t understand why. ’’ I just knew better than to do that, because I just felt like they were getting ready to take advantage of me in some way, one way or the other. I was a young girl, pretty and sexy and all that stuff, and I didn’t want to be taken advantage of. I said, ‘‘If they want me as a singer, then I’m going to sing.

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