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The concept of personae in music was introduced by Edward T. Cone in his The Composer's Voice (1974), which dealt with the relation between the lyrical self of a song's lyrics and its composer. [17] Performance studies scholar Philip Auslander includes further contextual frames, in which musical persona is the primary product of musical ...
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 ...
Portal:Classical music/Quotes/10 Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.
Simon Vouet, Saint Cecilia, c. 1626. Research into music and emotion seeks to understand the psychological relationship between human affect and music.The field, a branch of music psychology, covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical ...
Musical quotation is to be distinguished from variation, where a composer takes a theme (their own or another's) and writes variations on it.In that case, the origin of the theme is usually acknowledged in the title (e.g., Johannes Brahms's Variations on a Theme by Haydn).
Ezra Pound was an admirer of Browning and he frequently used masks or personae (Personae is the title of collection of shorter poems by him). Rather than the poem representing the voice of the author, as in much lyric poetry, the speaker in Pound's persona poems is a made-up character with whom Pound did not completely identify.
"Message of Love" is a song written by Chrissie Hynde and performed by the Pretenders. Released first as a single and then on the Pretenders' 1981 EP Extended Play, it was later re-released on the band's 1981 album Pretenders II. A band effort largely composed in the studio, the song was a radio hit and reached number 11 in the United Kingdom.
The collection belongs to the akam (love) category, and each poem consists of 4 to 8 lines each (except poem 307 and 391 which have 9 lines). The Sangam literature structure suggests that the original compilation had 400 poems, but the surviving Kuruntokai manuscripts have 402 poems.