Search results
Results From The WOW.Com Content Network
The challenge the developers faced was the difficulty in offering useful suggestions for misspelled words. This requires reducing words to a skeletal form and applying pattern-matching algorithms. It might seem logical that where spell-checking dictionaries are concerned, "the bigger, the better," so that correct words are not marked as incorrect.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
Engaging Music: Essays in Music Analysis. Oxford and New York: Oxford University Press. ISBN 0-19-517010-5. Tovey, Donald Francis. 1978 [1935–1939]. Essays in Musical Analysis, 6 vols. Oxford and New York: Oxford University Press. OCLC 912417. van Appeldorn, M.-J. 1966. "Stylistic Study of Claude Debussy's Opera Pelléas et Mélisande". Ph.D ...
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 ...
One of her best known works is Feminine Endings (1991). "Feminine ending" is a musical term once commonly used to denote a weak phrase ending or cadence.The work covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse, and discursive strategies of women musicians.
Philosophy of music is the study of "fundamental questions about the nature and value of music and our experience of it". [1] The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics.
In Western music theory, the term sentence is analogous to the way the term is used in linguistics, in that it usually refers to a complete, somewhat self-contained statement. Usually a sentence refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of movement or section ...
Traditional dialectal [a] music is representational: the musical form relates to an expressive content and is a means of creating a growing tension; this is what is usually called the musical argument.