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A History of Music at the Cathedrals of the Church of Ireland (Belfast: Institute of Irish Studies, Queen's University of Belfast, 1989). Hast, Dorothea & Scott, Stanley: Music in Ireland. Experiencing Music, Expressing Culture (New York: Oxford University Press, 2004). Hogan, Ita M.: Anglo-Irish Music, 1780–1830 (Cork: Cork University Press ...
Musica universalis—which had existed as a metaphysical concept since the time of the Greeks—was often taught in quadrivium, [8] and this intriguing connection between music and astronomy stimulated the imagination of Johannes Kepler as he devoted much of his time after publishing the Mysterium Cosmographicum (Mystery of the Cosmos), looking over tables and trying to fit the data to what he ...
The tradition of rebel music in Ireland date back to the period of English (and later British) crown rule, and describe historical events in Irish history such as rebellions against the Crown and reinforcing a desire for self-determination among the Irish people and the Irish diaspora.
Irish dance music is isometric and is built around patterns of bar-long melodic phrases akin to call and response.A common pattern is A Phrase, B Phrase, A Phrase, Partial Resolution, A Phrase, B Phrase, A Phrase, Final Resolution, though this is not universal; mazurkas, for example, tend to feature a C Phrase instead of a repeated A Phrase before the Partial and Final Resolutions, for example.
Lullabies typically soothe people through the awake/sleep transition, and similarly can soothe people through the life/death transition. Music therapists have called these tunes "lullaments", that which sustain the spirit, support psychological structure, and enable resilience during times of vulnerability to the effects of adversity.
"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."
The earliest significant use of music indeterminacy features is found in many of the compositions of American composer Charles Ives in the early 20th century. Henry Cowell adopted Ives's ideas during the 1930s, in such works as the Mosaic Quartet (String Quartet No. 3, 1934), which allows the players to arrange the fragments of music in a number of different possible sequences.
The range of possible topics is virtually limitless. Some examples might be "Music during World War I," "Medieval and Renaissance instrumental music," "Music and politics," "Mozart's Don Giovanni, or Women and music." The methods and tools of music history are nearly as many as its subjects and therefore make a strict categorization impossible.