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"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
This model argues that "music emphasizes sound as emotive meaning and language emphasizes sound as referential meaning." [16] The musilanguage model is a structural model of music evolution, meaning that it views music's acoustic properties as effects of homologous precursor functions. This can be contrasted with functional models of music ...
Music history, sometimes called historical musicology, is a highly diverse subfield of the broader discipline of musicology that studies music from a historical ...
Evolution in musical instruments [1] in technology and in culture can influence the evolution of musical genres. [ 2 ] Genealogical charts or family trees of musical genres show how new genres have emerged from existing genres and how multiple genres have contributed to a new genre.
It never stops evolving. And every time you press play, there’s a chance to discover something that changes you. Groover connects independent artists with music industry professionals to ...
Biomusicology is the study of music from a biological point of view. The term was coined by Nils L. Wallin in 1991 to encompass several branches of music psychology and musicology, including evolutionary musicology, neuromusicology, and comparative musicology.
Evolutionary music is the audio counterpart to evolutionary art, whereby algorithmic music is created using an evolutionary algorithm.The process begins with a population of individuals which by some means or other produce audio (e.g. a piece, melody, or loop), which is either initialized randomly or based on human-generated music.
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.