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The term refers to diegesis, a style of storytelling. In her 1987 work Unheard Melodies, Claudia Gorbman was influential in establishing the terms "diegetic" and "non-diegetic" (derived from narrative theory) for use in academic film music studies. From there, its usage spread to other disciplines. [2] [3]
Eisegesis is when a reader imposes their interpretation of the text. Thus exegesis tends to be objective; and eisegesis, highly subjective. Although the terms eisegesis and exegesis are commonly heard in association with Biblical interpretation, both (especially exegesis) are used across literary disciplines.
A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. Klangfarbenmelodie (Ger.)
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. [60] In the tenth edition of The Oxford Companion to Music , Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between ...
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
The terms hermeneutics and exegesis are sometimes used interchangeably. Hermeneutics is a wider discipline which includes written, verbal, and nonverbal [7] [8] communication. Exegesis focuses primarily upon the word and grammar of texts.
Formalized analyses propose models for melodic functions or simulate music. Meyer distinguishes between global models, which "provide an image of the whole corpus being studied, by listing characteristics, classifying phenomena, or both; they furnish statistical evaluation," and linear models which "do not try to reconstitute the whole melody ...
Schenker intended his theory as an exegesis of musical "genius" or the "masterwork", ideas that were closely tied to German nationalism and monarchism. [5] The canon represented in his analytical work therefore is almost entirely made up of German music of the common practice period (especially that of Johann Sebastian Bach, Carl Philipp Emanuel Bach, Joseph Haydn, Wolfgang Amadeus Mozart ...