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Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
Diction has multiple concerns, of which register, the adaptation of style and formality to the social context, is foremost. Literary diction analysis reveals how a passage establishes tone and characterization, e.g. a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating states ...
Art songs require strong vocal technique, an understanding of language, diction, and poetry for interpretation. Though such singers may also perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs.
A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. Klangfarbenmelodie (Ger.)
This includes the songs of chansonnier, chanson de geste and Grand chant; court songs of the late Renaissance and early Baroque music periods, air de cour; popular songs from the 17th to 19th century, bergerette, brunette, chanson pour boire, pastourelle, and vaudeville; art song of the romantic era, mélodie; and folk music, chanson populaire ...
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]
Some definitions refer to music as a score, or a composition: [18] [7] [19] music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of reading music , at least for trained musicians, involves a process, called "inner hearing" or "audiation ...
The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre.Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France.