As the author demonstrates, Mahler's music benefits from a multiplicity of facets that include the carefully conceived musical structures, extramusical
references, self-referential gestures, and other elements.
El segundo guarda relacion con la persuasion comunicativa en la que entran en juego factores como el prestigio del emisor o el contenido extramusical
de las audiciones.
Inocularle imaginacion extramusical
significa contaminar la musica--?
For example, the significance of rap to urban youth culture would have been a rich topic from which to investigate deeper extramusical
implications, including inequality, racism, sexism, oppression, and heteronormativity.
This operation refers to the criterion of narrowing the extremely wide panoply of possible objects of investigation by selecting a specific kind of music; on the other hand it refers to the criterion of attribution of "sense" to this selected music, a criterion that shall appear as neither the result of an illicit universalization of a mere subjective position, nor as the formalist exclusion of all possible attribution of extramusical
The overall two-part division of Kramerspiegel and the extramusical
personages referenced in the poetry.
13) Budd argues that the judgment that a musical phrase sounds melancholy is purely descriptive: one aspect of understanding a particular musical work is knowing how the work should sound in performance, extramusical
concepts are integral to the experience of listening to music with understanding, and musical analysis should explain what the relationships among events in a particular musical work are.
An examination of the works typically focuses on Debussy's extramusical
influences, but although this article will elaborate on some of the senstial imagery so important in his music, the discussion will also address structure, pianistic idiom, musical and technical demands, and pedagogical effectiveness.
Mozart's making fun of him may well have been related to Leitgeb's complete lack of extramusical
My initial drive to consider this question, however, came from involvement with a gender performance community in which music's particular aesthetic, discursive, and experiential roles--its "meanings" and its "phenomena"--were not only inflected by but actually constituted by so-called extramusical
elements, from discrete items like costumes, stage props, and choreography to the broad categories of audience attitudes and community norms.
They discuss psychoacoustics; musical preference; views of why people have music, music's functions for individuals, and its social values and cultural importance; nonmuscial or extramusical
purposes like therapy, ceremonies, enhancing a story, or selling something; perception, judgment, and measurement of music, as well as physical and psychophysical events; rhythmic behaviors; horizontal and pitch organization, tonality, scales, and value judgments, and related pedagogical issues; performance, improvisation, and composition; the affective response to music; the development and prediction of musical ability; music learning as a form of learning; music abnormalities; and future research.
Se puede plantear entender el subterraneo como espacio de innovacion en el campo rockero y de reorganizacion de las posiciones en su interior, en donde el <<mito del rock>> aparece como una forma de enfrentar las carencias simbolicas y materiales de la actividad musical, pero no solo como <<resistencia>>, sino como formas contextualizadas de asumir el oficio musical y los sentidos y significados de la valoracion extramusical
y de la propia musica.