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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.
Transcendentalism is a philosophical, spiritual, and literary movement that developed in the late 1820s and 1830s in the New England region of the United States. [1] [2] [3] A core belief is in the inherent goodness of people and nature, [1] and while society and its institutions have corrupted the purity of the individual, people are at their best when truly "self-reliant" and independent.
Cover of the Edition Peters sheet music of "Lux aeterna" by György Ligeti. This is a list of online digital musical document libraries.Each source listed below offers access to collections of digitized music documents (typically originating from printed or manuscript musical sources).
Transcendentalism: From the mid-19th-century American movement: poetry and philosophy concerned with self-reliance, independence from modern technology [39] Ralph Waldo Emerson, Henry David Thoreau: Realism: The mid-19th-century movement based on a simplification of style and image and an interest in poverty and everyday concerns [40]
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.
Aristotle's substance theory (being a substance belongs to being qua being) has been interpreted as a theory of transcendentals. [3] Aristotle discusses only unity ("One") explicitly because it is the only transcendental intrinsically related to being, whereas truth and goodness relate to rational creatures.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
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 ...