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Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
Leonard B. Meyer, in Emotion and Meaning in Music (1956), [1] distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same ...
Philosophy of music is the study of "fundamental questions about the nature and value of ... other issues concerning the aesthetics of music include lyricism ...
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century.
Chanson réaliste (French pronunciation: [ʃɑ̃sɔ̃ ʁealist], realist song) refers to a style of music performed in France primarily from the 1880s until the end of World War II. [ 1 ] [ 2 ] Influenced by literary realism and the naturalist movements in literature and theatre , chanson réaliste dealt with the lives of Paris 's poor and ...
Liszt was noted for his romantic realism, free tonality, and program-music as an adherent of the New German School. [19] Historians also cite how totalitarian dictators choose romantic realism as the music for the masses. [20] It is said that Adolf Hitler favored Parsifal while Joseph Stalin liked Wolfgang Amadeus Mozart's piano concertos. [20]
Hyperrealism is a term coined by the composer Noah Creshevsky to describe a musical language for his and his colleagues' compositional aesthetic. Creshevsky defines hyperrealism as "an electroacoustic musical language constructed from sounds that are found in our shared environment ('realism'), handled in ways that are somehow exaggerated or excessive ('hyper')."
In recent years, however, the term has been revived in an attempt to describe and categorize, in literary and philosophical terms, how it is that the work of an irrealist writer differs from the work of writers in other, non-realistic genres (e.g., the fantasy of J.R.R. Tolkien, the magical realism of Gabriel García Márquez) and what the ...