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Ethnochoreology (also dance ethnology, dance anthropology) is the study of dance through the application of a number of disciplines such as anthropology, musicology, ethnomusicology, and ethnography. The word itself is relatively recent and etymologically means "the study of ethnic dance ", though this is not exclusive of research on more ...
Ethnomusicology (from Greek ἔθνος ethnos ‘nation’ and μουσική mousike ‘music’) is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
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.
Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, in addition to the sound component.
The French school of ethnology was particularly significant for the development of the discipline, since the early 1950s. Important figures in this movement have included Lévi-Strauss, Paul Rivet, Marcel Griaule, Germaine Dieterlen, and Jean Rouch.
Dolores Huerta, one of the most influential labor activists in the 20th century, attests that music was a crucial spark in America's largest farmworker movement. “So much of the music from that ...
Her principal goals are to challenge the field of western dance history in its inconsistent definitions of what dance is, and its racist and ethnocentric accounts of non-Western dance practices; she does this by arguing that ballet is a form of ethnic dance, a claim which both shocks the dominant narrative and redefines the term “ethnic”.