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A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
When paired with the term otium, the word dignitas took on a different meaning. Cicero did not consider himself worthy of having dignitas alone because he felt that—by turning his back on the Roman public—he had neglected the duty of one whose life had normally exemplified the concept. He then altered the definition to mean "[lifetime ...
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 ...
Dignitas (Roman concept), an ancient Roman political idea to do with the influence of a citizen; Dignitatis humanae, the Second Vatican Council's Declaration on religious freedom; Four Dignities of Shambhala Buddhism
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In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. [1] According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through ...
Dignitas may refer to: Dignitas (Roman concept), a Roman virtue; Dignitas (non-profit organisation), organization providing physician-assisted suicide; Dignitas International, a humanitarian organisation; Dignitas (esports), a US-based esports team; Dignitas personae, a Vatican instruction on bioethics
The work of Leonard B. Meyer in Style and Music [13] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on Romanticism as a case study. Fred Lerdahl and Ray Jackendoff [14] analyze how music is structured like a language with its own semiotics and syntax.