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Each volume focused on a certain genre of orchestral or choral music (for example, Volumes I and II were devoted to Symphonies; Volume III to Concertos), with many of the works discussed with the help of music examples. In 1944, a posthumous seventh volume appeared on chamber music. In 1989, a new version was published with some essays omitted ...
When describing popular music artists, honorific nicknames are used, most often in the media or by fans, to indicate the significance of an artist, and are often religious, familial, or most frequently royal and aristocratic titles, used metaphorically.
Music Inspired by The Chronicles of Narnia: The Lion, the Witch and the Wardrobe: The Chronicles of Narnia: C. S. Lewis [20] Seventh Son of a Seventh Son: Iron Maiden: Seventh Son: Orson Scott Card [21] Shakespeare's Macbeth – A Tragedy in Steel: Rebellion: Macbeth: William Shakespeare [22] Smallcreeps's Day: Mike Rutherford: Smallcreep's Day ...
Liszt's leading idea was to unite poetry and music in works of instrumental music, in symphonic poems and other symphonic works with a "program", subjects of non-musical nature; quite the opposite of Wagner's ideal to unite all the arts in staged music drama. In some of Liszt's essays, for example in that about Berlioz and Harold in Italy, he ...
The musicologist Winton Dean has suggested that "music is probably the most difficult of the arts to criticise." [2] Unlike the plastic or literary arts, the 'language' of music does not specifically relate to human sensory experience – Dean's words, "the word 'love' is common coin in life and literature: the note C has nothing to do with breakfast or railway journeys or marital harmony."
True titles are specific to a single work. These are titles given by the composer, much as an author titles a novel. True titles are always italicized: From me flows what you call time; Pelléas et Mélisande; When true titles are mixed with generic titles, as is often the case in overtures and suites, only the true title is italicized. The ...
This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations ...
Philosophy of music is the study of "fundamental questions about the nature and value of music and our experience of it". [1] The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics.