Titlebook: Etudes on the Philosophy of Music; Juozas Rimas,Juozas Rimas Jr. Book‘‘‘‘‘‘‘‘ 2024 The Editor(s) (if applicable) and The Author(s) 2024 20

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Articulation,Articulation as the distinguishing and combining of tones (I. Braudo) and as semiotic organisation (A. J. Greimas). Articulation as the understanding and interpretation of text (P. Ricoeur, L. Wittgenstein). The means of articulation: metric, rhythmic and emotional accents (J. Cage, A. Pazovskiy).

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被告

https://doi.org/10.1007/978-3-031-15393-8etween music and numbers (Pythagoras, G. W. Leibniz, A. Schopenhauer, V. Sesemann). St Augustine’s definition of music as the ability to modulate well (.). Primeval speech as primeval song (R. Steiner). The primacy of music over the text in two traditional Lithuanian harvest songs: . (“Run, little r

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https://doi.org/10.1007/978-3-319-07803-8h. Hearing and understanding (G. Colombero, B. Asaf’ev; C.P.E. Bach, R. Schumann). .. The method developed by C. Martienssen. “Wunderkind complex”. The author’s recording of the Andante from the Cassation in B flat major (KV 63a) by the 13-year-old W. A. Mozart. Six elements of sound creation: pitch

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https://doi.org/10.1007/978-94-015-9882-8s the following similarities with music: (1) the sonic nature of the realisation (the perception of the expression through hearing); (2) the processual nature (becoming in a particular segment of time); (3) the emotional nature (the aim of arousing affects); (4) common elements of both languages (ve

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Twan Basten,Roelof Hamberg,Jacques Verriet (.): the manifestation in sound of time felt internally. Musical events: a transition from one contextual situation to another (A. Benditskiy, M. Aranovskiy). Rejection of the static approach to time in favour of the real flow of time (V. Sesemann). The goal of musical expression is to give intonat

彎腰

https://doi.org/10.1007/978-3-642-16277-0ent poetic composition. Melodic rhythm expresses the true accents of the music. Also, there is a demonstration of the energetic quality of musical movement illustrated by a recording of . by Jean Sibelius (Op. 81, No. 2) for oboe and piano, with the author playing oboe.