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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.
Mehna, a term associated with Algeria raï music and is said to be similar to duende [6] Salsa, closely associated with the salsa genre, the term salsa denoting a "wild" and "frenzied" musical experience, being used as a vocal interjection to acknowledge the musical excitement of a performance. This usage can also express a sense of pan-Latin ...
English interjections are a category of English words – such as yeah, ouch, Jesus, oh, mercy, yuck, etc. – whose defining features are the infrequency with which they combine with other words to form phrases, their loose connection to other elements in clauses, and their tendency to express emotive meaning.
Under a different use of the term 'particle', particles and interjections can be distinctions in that particles cannot be independent utterances and are fully a part of the syntax of the utterance. Interjections, on the other hand, can stand alone and also are always preceded by a pause, separating them from the grammar and syntax of other ...
Many musical terms are in Italian because, in Europe, the vast majority of the most important early composers from the Renaissance to the Baroque period were Italian. [citation needed] That period is when numerous musical indications were used extensively for the first time. [1]
Filmmaker Alfonso Cuaron wanted to explore making a series of short films honoring the different cultural traditions at the end of the year, from Christmas to Hanukkah to pagan traditions. His ...
This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered (e.g. to do an "encore ...
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]