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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 ...
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 ...
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)
The changing nature of repertoires of contention can be seen in a sample element of the mid-18th century British repertoire of contention, the rough music: a humiliating and loud public punishment inflicted upon one or more people who have violated the standards of the rest of the community. [5]
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.
Shout-and-fall or tumbling strain is a modal frame, "very common in Afro-American-derived styles" and featured in songs such as "Shake, Rattle and Roll" and "My Generation". [ 6 ] "Gesturally, it suggests 'affective outpouring', 'self-offering of the body', 'emptying and relaxation'."
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.
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 ...