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Discursive dominance or discursive power is the ultimate emergence of one discourse as dominant among competing ones in their struggle for dominance. Ultimately, one of the discourses emerges as dominant. The word ‘discursive’ is related to the word discourse, which refers to "communication of ideas".
The media is a hegemonic form of power that maintains their position, not through force, but through elaboration of a particular world view, an ideology, or a particular notion of common sense, which is widely infused into everyday cultural practices. This results in people consenting to power even when it may not be in their best interest. [6]
The next section luxuriates in slowness and lush writing for strings, more moody than motif-conscious (reminding of Bernard Herrmann’s music for Hitchcock’s Psycho) and growing in disruption, and the discursive final movement becomes increasingly festive (in the manner of Revueltas), police-whistle, or something like it, over-used, until ...
Discourse is a generalization of the notion of a conversation to any form of communication. [1] Discourse is a major topic in social theory, with work spanning fields such as sociology, anthropology, continental philosophy, and discourse analysis.
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Philosophy of music is the study of "fundamental questions about the nature and value of music and our experience of it". [1] The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics.
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
One of her best known works is Feminine Endings (1991). "Feminine ending" is a musical term once commonly used to denote a weak phrase ending or cadence.The work covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse, and discursive strategies of women musicians.