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New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology—focused on primary research —of the early 20th century and postwar era .
In modern academia, music theory is a subfield of musicology, the wider study of musical cultures and history. Guido Adler , however, in one of the texts that founded musicology in the late 19th century, wrote that "the science of music originated at the same time as the art of sounds", [ 3 ] where "the science of music" ( Musikwissenschaft ...
The Dorian mode is very similar to the modern natural minor scale (see Aeolian mode below). The only difference with respect to the natural minor scale is in the sixth scale degree , which is a major sixth (M6) above the tonic, rather than a minor sixth (m6).
Cognitive musicology can be differentiated from the fields of music cognition and cognitive neuroscience of music by a difference in methodological emphasis. Cognitive musicology uses computer modeling to study music-related knowledge representation and has roots in artificial intelligence and cognitive science. The use of computer models ...
The Phrygian mode (pronounced / ˈ f r ɪ dʒ i ə n /) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.
Musicology is the academic, research-based study of music, as opposed to musical composition or performance. [1] Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
Musicologists associated with the new musicology often use musical analysis (traditional or not) along with or to support their examinations of the performance practice and social situations in which music is produced and that produce music, and vice versa. Insights from the social considerations may then yield insight into analysis methods.
Embodied music cognition is a direction within systematic musicology interested in studying the role of the human body in relation to all musical activities.. It considers the human body as the natural mediator between mind (focused on musical intentions, meanings, significations) and physical environment (containing musical sound and other types of energy that affords human action).