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In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
When paired with the term otium, the word dignitas took on a different meaning. Cicero did not consider himself worthy of having dignitas alone because he felt that—by turning his back on the Roman public—he had neglected the duty of one whose life had normally exemplified the concept. He then altered the definition to mean "[lifetime ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Aeneas, depicted here with Venus, was considered the embodiment of gravitas, pietas, dignitas, and virtus. [4]Gravitas was one of the virtues that allowed citizens, particularly statesmen, to embody the concept of romanitas, [5] which denotes what it meant to be Roman and how Romans regarded themselves, eventually evolving into a national character. [6]
The music faculty is in some respects unique to the human species; only humans compose music, learn to play musical instruments and play instruments cooperatively together in groups. Playing a musical instrument in a group is a tremendously demanding task for the human brain that potentially engages all cognitive processes that we are aware of.
Writers on music semiology include Kofi Agawu (on topical theory, Schenkerian analysis), Robert S. Hatten (on topic, gesture), Raymond Monelle (on topic, musical meaning), Jean-Jacques Nattiez (on introversive taxonomic analysis and ethnomusicological applications), Anthony Newcomb (on narrativity), Thomas Turino (applying the semiotics of ...
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]
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. [60] In the tenth edition of The Oxford Companion to Music , Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between ...