Titlebook: Word Art + Gesture Art = Tone Art; The Relationship Bet Hanns-Werner Heister,Hanjo Polk,Bernhard Rusam Book 2023 The Editor(s) (if applicab

Arteriography

chandel

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

cortisol

突袭

黑豹

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

Grievance

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

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,

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