Search results
Results from the WOW.Com Content Network
The term for "a god" was **deywós ("celestial"), derived from the root *dyew, which denoted the bright sky or the light of day. It has numerous reflexes in Latin deus , Old Norse Týr (< PGmc. * tīwaz ), Sanskrit devá , Avestan daeva , Irish día, or Lithuanian Dievas .
Proto-Indo-European had several words for 'leader': * tagós was a general term derived from * tā̆g-('set in place, arrange'); * h₃rḗǵs meant a ruler who also had religious functions, with the Roman rex sacrorum ('king of the sacred') as a heritage of the priestly function of the king.
Rudy Ray Moore, known as "Dolemite", is well known for having used the term in his comedic performances.While signifyin(g) is the term coined by Henry Louis Gates Jr. to represent a black vernacular, the idea stems from the thoughts of Ferdinand De Saussure and the process of signifying—"the association between words and the ideas they indicate."
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.
It is agreed upon that ethnomusicologists look at music from beyond a purely theoretical, sonic, or historical perspective. Instead, these scholars look at music within culture, music as culture, and music as a reflection of culture. [7] [8] In other words, ethnomusicology was developed as the study of all music as a human social and cultural ...
Shamanic music is ritualistic music used in religious and spiritual ceremonies associated with the practice of shamanism. Shamanic music makes use of various means of producing music, with an emphasis on voice and rhythm. It can vary based on cultural, geographic, and religious influences.
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).