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Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
Coolness, or being cool, is the aesthetic quality of something (such as attitude, behavior, appearance, or style) being compatible with admirable social norms of society or a group of people. Because of the varied and changing interpretation of what is considered cool , as well as its subjective nature, the word has no single meaning.
In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music.
Patricia Carpenter (January 21, 1923 – July 8, 2000), [1] a music theorist, was a professor of music theory at Barnard College and Columbia University. Her areas of scholarly interest included music theory, the history of music theory, musical analysis, and the aesthetics of music. She was born in Santa Rosa, California. [2] Patricia Carpenter
His published works on music theory changed over time, and became more aligned with Schopenhauer's thought, over the course of his life. Schopenhauer had stated that music was more important than libretto in opera. [citation needed] Music is, according to Schopenhauer, an immediate expression of will, the basic reality of the experienced world ...
When Taylor Swift drops new music, fans know to look out for everything around the songs. The outfits, the fonts, the music videos and more also tell a story — the story of that album’s aesthetic.
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. [3]
Leonard B. Meyer, in Emotion and Meaning in Music (1956), [1] distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same ...