Music as Metaphor was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.A professor of music for many years, Mr. Ferguson here sets forth his theories on how music conveys meaning to its listeners. He identifies and discusses the elements of musical expression - tonal stress and rhythm - and correlates them with the nervous tensions and motor impulses which characterize human emotion. Through this correlation, he shows how music portrays universally understood emotional states and ideas. He relates these principles to music criticism, proposing a new system for such criticism.

Music as Metaphor was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.A professor of music for many years, Mr. Ferguson here sets forth his theories on how music conveys meaning to its listeners. He identifies and discusses the elements of musical expression - tonal stress and rhythm - and correlates them with the nervous tensions and motor impulses which characterize human emotion. Through this correlation, he shows how music portrays universally understood emotional states and ideas. He relates these principles to music criticism, proposing a new system for such criticism.

Music as Metaphor was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.A professor of music for many years, Mr. Ferguson here sets forth his theories on how music conveys meaning to its listeners. He identifies and discusses the elements of musical expression - tonal stress and rhythm - and correlates them with the nervous tensions and motor impulses which characterize human emotion. Through this correlation, he shows how music portrays universally understood emotional states and ideas. He relates these principles to music criticism, proposing a new system for such criticism.