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Secular exegesis is an element of the study of religion. At Australian and British universities, the exegesis forms part of the required work for fine arts, including creative-writing doctorates. A scholarly text accompanies a creative work, such as a film, novel, poetry or other artistic output by the PhD candidate.
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
[7] [8] In other words, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon. Rhodes, [9] in 1956, had described ethnomusicology as a fusion between musicology and cultural anthropology. He focused on the scientific study of music and the interpretation of the cultural phenomena within.
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 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.
In theory, "music history" could refer to the study of the history of any type or genre of music, such as the music of India or rock music. In practice, these research topics are more often considered within ethnomusicology and "historical musicology" is typically assumed to imply Western Art music of the European tradition.
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. The expression was born in the 19th century and has been used especially as the name of a discipline since ...
The study of sound and musical phenomena prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone. [4] The earliest recorded experiments date from the 6th century BCE, most notably in the work of Pythagoras and his establishment of the simple string length ratios that formed the consonances of the octave.