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A strain is often referred to as a "section" of a musical piece. Often, a strain is repeated for the sake of instilling the melody clearly. This is so in ragtime and marches. The Oxford English Dictionary lists this use of "strain" (n.2, III, 12) as part of the same noun more often used to denote an extreme of effort or pressure. OED derives it ...
Sociomusicology (from Latin: socius, "companion"; from Old French musique; and the suffix -ology, "the study of", from Old Greek λόγος, lógos : "discourse"), also called music sociology or the sociology of music, refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social ...
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Value-added theory (also known as social strain theory) is a sociological theory, first proposed by Neil Smelser in 1962, which posits that certain conditions are needed for the development of a social movement.
Examples include Alan Lomax's cantometrics, which: Distinguishes ten musical styles, dealing most fully with Eurasian and Old European styles. These are correlated with sexual permissiveness, status of women, and treatment of children as the principal formative social influences.
Leonard Meyer's Emotion and Meaning in Music [38] is the classic text in music expectation. [citation needed] Meyer's starting point is the belief that the experience of music (as a listener) is derived from one's emotions and feelings about the music, which themselves are a function of relationships within the music itself. Meyer writes that ...
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Examples of these processes in musical culture include the re-use of elements of bourgeois marches in labor anthems or the assimilation of liberated (in the Marcusian sense) countercultural 1960s rock into a tradition of bourgeois bohemianism and the combination of elements of black and white working-class music with elements of art music that ...