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The term pessimism derives from the Latin word pessimus, meaning 'the worst'.It was first used by Jesuit critics of Voltaire's 1759 novel Candide, ou l'Optimisme.Voltaire was satirizing the philosophy of Leibniz who maintained that this was the 'best (optimum) of all possible worlds'.
The Birth of Tragedy Out of the Spirit of Music (German: Die Geburt der Tragödie aus dem Geiste der Musik) is an 1872 work of dramatic theory by the German philosopher Friedrich Nietzsche. It was reissued in 1886 as The Birth of Tragedy, Or: Hellenism and Pessimism ( German : Die Geburt der Tragödie, Oder: Griechentum und Pessimismus ).
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
In singing, a controlled swell (i.e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period) [2] mesto Mournful, sad meter or metre The pattern of a music piece's rhythm of strong and weak beats mezza voce Half voice (i.e. with subdued or moderated volume) mezzo
Bahnsen's pessimism gives a central place to his theory of tragedy – a corollary of the contradictory character of his Realdialektik. [1]: 263 According to him, there can never be a clear or consistent answer as to what moral duties or values an individual should adopt. Whatever we do in our lives, particularly in the more intricate moral ...
The word pessimism comes from Latin pessimus, meaning "the worst".The term "optimism" was first used to name Leibniz's thesis that we live in "the best of all possible worlds"; and "pessimism" was coined to name the opposing view.
Music is conceived of as consisting of discrete atoms called notes. By definition, these are (conceptual) units of sound that possess the following five attributes: pitch, onset time, duration, loudness, and timbre. The core of Westergaardian theory consists of the following two claims about notes: [5]
Riemannian theory, in general, refers to the musical theories of German theorist Hugo Riemann (1849–1919). His theoretical writings cover many topics, including musical logic, [ 1 ] notation, [ 2 ] harmony, [ 3 ] melody, [ 4 ] phraseology, [ 5 ] the history of music theory, [ 6 ] etc.