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The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Expand coverage of music theory topics in Wikipedia. Establish a basic set of guidelines for music theory articles. Recruit Wikipedians into the music theory project. Scope The scope of this WikiProject includes: The mechanics of music and how music works. Elements of music such as melody, harmony, rhythm, pitch, texture, etc.
Musicology (from Greek μουσική mousikē 'music' and -λογια-logia, 'domain of study') is the scholarly study of music.Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening , performing , composing , reading, writing, and ancillary activities.
The mechanics of the action also makes the hammer recoil from the string instantly, so as not to damp vibration, and also prevents the hammer from bouncing, striking the string multiple times. Piano actions, even in the original version invented by Bartolomeo Cristofori , tend to be quite complex and have been subject of ingenious inventions ...
Gordon suggests that "audiation is to music what thought is to language". [7] His research is based on similarities between how individuals learn a language and how they learn to make and understand music. [8] Gordon specifies that audiation potential is an element of music aptitude, arguing that to demonstrate music aptitude one must use ...
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In July, 2009, Victoria Williamson reviewed the book for Psychology of Music (Volume 37, Number 3). Williamson wrote "Music, Thought, and Feeling definitely fills a gap in the current literature. It is an excellent and, I am sure, extremely welcome resource for anyone who is planning a course on music cognition, either at undergraduate or ...