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Ecomusicology considers aspects of environmental sustainability within music production and performance. For example, the relationship between a demand for a certain musical instrument as well as the costs and impacts of its production, has been an area of interest for Ecomusicologists investigating the sustainability of the consumption and production of music or musical instruments. [13]
A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate.
Environmental themes in music have ranged from an appreciation of nature and wilderness and advocating for its protection, to environmental degradation, pollution and climate change. The earliest popular music exploring environmentalist topics can be traced back to the 19th century and early folk, gospel and blues music.
After the increasing dominance of expression and emotion in music during the 19th and early 20th centuries, there was a backlash. [13] "Most people like music because it gives them certain emotions such as joy, grief, sadness, and image of nature, a subject for daydreams or – still better – oblivion from “everyday life”.
A keyboard depicting note-color associations. The colors are experienced with the sounding of the note, and are not necessarily localized to piano keys. Chromesthesia or sound-to-color synesthesia is a type of synesthesia in which sound involuntarily evokes an experience of color, shape, and movement.
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.
The term cromatico (Italian) was occasionally used in the Medieval and Renaissance periods to refer to the coloration (Latin coloratio) of certain notes.The details vary widely by period and place, but generally the addition of a colour (often red) to an empty or filled head of a note, or the "colouring in" of an otherwise empty head of a note, shortens the duration of the note.
Colour is the keyboard. The eye is the hammer, while the soul is a piano of many strings. The artist is the hand through which the medium of the corresponding keys causes the human soul to vibrate. It is, thus, evident that colour harmony can rest only on the principle of the corresponding touch to the human soul. [114] [note 23]