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Mar 3, 2015 · The bio-musicological approach is comparative in at least two senses: first that it takes as its domain all of human music-making (not privileging any one culture, or ‘art music’ created by professionals) and second that it seeks insight into the biology of human musicality, wherever possible, by looking at related traits in other animals.
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Biomusicology is the study of music from a biological point of view. The term was coined by Nils L. Wallin in 1991 to encompass several branches of music psychology and musicology, including evolutionary musicology, neuromusicology, and comparative musicology. [1] Power of Music by Louis Gallait. A brother and sister resting before an old tomb.
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The bio-musicological approach is comparative in at least two senses: first that it takes &2015 The Authors. Published by the Royal Society under the terms of the Creative Commons Attribution
Apr 7, 2024 · The scope of musicology may be summarized as covering the study of the history and phenomena of music, including (1) form and notation, (2) the lives of composers and performers, (3) the development of musical instruments, (4) music theory (harmony, melody, rhythm, modes, scales, etc.), and (5) aesthetics, acoustics, and physiology of the voice ...
- The Editors of Encyclopaedia Britannica
Biography and the New Musicology. Paper presented at the (Auto)Biography as a Musicological Discourse: The Ninth International Conference of The Departments of Musicology and Ethnomusicology, Faculty of Music, 19 - 22 April 2008, Belgrade, Serbia. This is the unspecified version of the paper. This version of the publication may difer from the ...
Biomusicology is the study of music from a biological point of view. The term was coined by Wallin (1991). Music is an aspect of the behaviour of the human and possibly other species. As humans are living organisms, the scientific study of music is therefore part of biology, thus the "bio" in "biomusicology".
Abstract. Traditional musicology has long resisted biographical interpretations in favor of formalistic approaches. While the so-called “New Musicology” has more recently redressed this imbalance by encouraging the contextualization of music, including critical studies that take account of issues of biography in relation to musical works ...
