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A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate.
Since 2001 [17] Grove Music Online has served as a cornerstone of Oxford University Press's larger online research tool Oxford Music Online, which remains a subscription-based service. [18] As well as being available to individual and educational subscribers, it is available for use at many public and university libraries worldwide, through ...
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 ...
Music is the arrangement of sound to create some combination of form, harmony, melody, rhythm, or otherwise expressive content. [1] [2] [3] Music is generally agreed to be a cultural universal that is present in all human societies. [4]
What is the definition of music? ... An Essay in the Philosophy of Music' Oxford, 1992/2007. Kivy, P. Introduction to a Philosophy of Music, Hackett Publishing, 1989.
Complexity in musical form and harmonic organization are typical traits of classical music. [1] The Oxford English Dictionary (OED) offers three definitions for the word "classical" in relation to music: [27] "of acknowledged excellence" "of, relating to, or characteristic of a formal musical tradition, as distinguished from popular or folk music"
The Oxford Companion to Music, tenth edition. The Oxford Companion to Music is a music reference book in the series of Oxford Companions produced by the Oxford University Press. It was originally conceived and written by Percy Scholes and published in 1938.
According to the Oxford Dictionary of Music, in the 16th century the instrumental fantasia was a strict imitation of the vocal motet. [2] Polyphonic solo fantasias were widely composed for the Lute & early keyboards.