Arteriography
发表于 2025-3-26 23:39:10
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chandel
发表于 2025-3-27 01:57:31
Music in Cognitive Evolution: Mimesis and the Evolving Domain of Auditory Intersubjectivitys a phenomenon that is unique to the human species, and that claim is defensible when music is defined in a way that excludes such phenomena as birdsong, whale vocalization, wolf howls, and other quasi-musical forms of animal communication. This necessarily shifts the focus away from innate auditory
obstinate
发表于 2025-3-27 06:28:49
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cortisol
发表于 2025-3-27 09:51:13
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突袭
发表于 2025-3-27 15:16:03
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黑豹
发表于 2025-3-27 18:12:40
Cantabile and the Opposite in Trumpet Melodies and to pure instrumental music. The adoption of vocal quotations or the imitation of speech or song has an influence on the semantization of instrumental music, and correspondingly on the function of the trumpet in orchestras and ensembles. In the context of the instrument’s evolution, motivic ster
PANT
发表于 2025-3-28 01:52:59
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Grievance
发表于 2025-3-28 02:16:40
How Franz Liszt Imparts Singing and Speaking on the Pianorst half of his mature production, c. 1830–1860, he assembled more than a hundred piano transcriptions of his own songs, and even more by other composers, as well as concert paraphrases of operas. These arrangements were meant for his personal use in concerts; however, their careful notation suggest
LAST
发表于 2025-3-28 09:49:39
Love, Death, and Rhetoric. Meaningful Textual-Musical and Vocal-Instrumental Relationships in Giuseptions between vocal music and instrumental music—, Giuseppe Verdi’s opera . is analyzed from the point of view of the main figures of classical rhetoric, especially tropes. All musical numbers of the work are scrutinized in view of the explicit and implicit use of rhetorical devices by the composer,
–FER
发表于 2025-3-28 13:53:45
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