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Sociomusicology (from Latin: socius, "companion"; from Old French musique; and the suffix -ology, "the study of", from Old Greek λόγος, lógos : "discourse"), also called music sociology or the sociology of music, refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social ...
Empiricists argue that empiricism is a more reliable method of finding the truth than purely using logical reasoning, because humans have cognitive biases and limitations which lead to errors of judgement. [2] Empiricism emphasizes the central role of empirical evidence in the formation of ideas, rather than innate ideas or traditions. [3]
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.
Musicology (from Greek μουσική mousikē 'music' and -λογια-logia, 'domain of study') is the scholarly study of music.Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
Empirical sociology is often concerned with aspects of everyday life with common sense, which it treats as a resource, a form of knowledge. [2] Empirical sociology inductively studies how people appreciate and get along with each other. [3] Empirical sociology is an American tradition with roots in the social reform movements of the Progressive ...
Wilhelm Dilthey (/ ˈ d ɪ l t aɪ /; German: [ˈvɪlhɛlm ˈdɪltaɪ]; [6] 19 November 1833 – 1 October 1911) was a German historian, psychologist, sociologist, and hermeneutic philosopher, who held Georg Wilhelm Friedrich Hegel's Chair in Philosophy at the University of Berlin.
Guido of Arezzo (Italian: Guido d'Arezzo; [n 1] c. 991–992 – after 1033) was an Italian music theorist and pedagogue of High medieval music.A Benedictine monk, he is regarded as the inventor—or by some, developer—of the modern staff notation that had a massive influence on the development of Western musical notation and practice.
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