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User-generated database of comparison between original tracks and covers, or songs that use samples. 460,000. 150,000. SIMUC. Chilean music and musicians. SIMUC is a Non-profit organisation that collects data on composers, academics, institutions, people and other topics related to classical music and Chile .
Musicology (from Greek μουσική mousikē 'music' and -λογια -logia, 'domain of study') is the scholarly study of music. Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science .
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Journal information. 2020 (Vol. 37) PUBLISHED BY. University of California Press. COVERAGE. 1982-2020 (Vol. 1, No. 1 - Vol. 37, No. 4) MOVING WALL. 3 years. ISSN. 02779269. EISSN. 15338347. SUBJECTS. Music, Arts. COLLECTIONS.
May 5, 2020 · As an academic subject, musicology is both very old and very new. Old because as a kind of applied mathematics, ‘music’ was already studied in classical antiquity, to be reborn in the monasteries and universities of the middle ages; new because, in Britain at least, it was late to the party, remaining a poor relation to ‘proper ...
t. e. Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.
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,...
Dec 15, 2020 · 15 December 2020. Annotate. Cite. Permissions. Share. Abstract. This chapter begins from the failure of both musicology and philosophy to grasp the aesthetic experience afforded by music. It argues instead for an approach that explores the gap between the sensuous particularity of musical thought and the kinds of language brought to it.
