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A lexeme is a unit of lexical meaning that underlies a set of words that are related through inflection. It is a basic abstract unit of meaning, a unit of morphological analysis in linguistics that roughly corresponds to a set of forms taken by a single root word. For example, in English, run, runs, ran and running are forms of the same lexeme, which can be represented as RUN.
Music is an art form, and a cultural activity, whose medium is sound. General definitions of music include common elements such as pitch, rhythm, dynamics, and the sonic qualities of timbre and texture. Different styles or types of music may emphasize, de-emphasize or omit some of these elements. Music is performed with a vast range of instruments and vocal techniques ranging from singing to rapping; there are solely instrumental pieces, solely vocal pieces and pieces that combine singing and instruments. The word derives from Greek μουσική . See glossary of musical terminology.
Musicology is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus. Some geographers and anthropologists have an interest in musicology so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist.
Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds ; to several minutes or hours, or, at the most extreme, even over many years.
Music theory is the study of the practices and possibilities of music. The Oxford Companion to Music describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation ; the second is learning scholars views on music from antiquity to the present; the third a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built."
Music history, sometimes called historical musicology, is a highly diverse subfield of the broader discipline of musicology that studies music from a historical point of view. In theory, "music history" could refer to the study of the history of any type or genre of music. In practice, these research topics are often categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The terms "music history" and "historical musicology" usually refer to the history of the notated music of Western elites, sometimes called "art music".
Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, in addition to the sound component.
Art music is music considered to be of high aesthetic value. It typically implies advanced structural and theoretical considerations or a written musical tradition. In this context, the terms "serious" or "cultivated" are frequently used to present a contrast with ordinary, everyday music.
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments, or the way a symphonic piece is orchestrated", among other factors.
New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology of the early 20th century and postwar era. Many of the procedures of new musicology are considered standard, although the name more often refers to the historical turn rather than to any single set of ideas or principles. Indeed, although it was notably influenced by feminism, gender studies, queer theory, postcolonial studies, and critical theory, new musicology has primarily been characterized by a wide-ranging eclecticism.
Paradigmatic analysis is the analysis of paradigms embedded in the text rather than of the surface structure (syntax) of the text which is termed syntagmatic analysis. Paradigmatic analysis often uses commutation tests, i.e. analysis by substituting words of the same type or class to calibrate shifts in connotation.
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant.
Music semiology (semiotics) is the study of signs as they pertain to music on a variety of levels.
Repetition is important in music, where sounds or sequences are often repeated. It may be called restatement, such as the restatement of a theme. While it plays a role in all music, with noise and musical tones lying along a spectrum from irregular to periodic sounds,(Moravcsik, 114)(Rajagopal, ) it is especially prominent in specific styles.
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.
Odia morphology is the identification, analysis and description of the structure of morphemes and other units of meaning in the Odia language. Morphemes are the smallest units of the Odia language that carry and convey a unique meaning and is grammatically appropriate. A morpheme in Odia is the most minuscule meaningful constituent which combines and synthesizes the phonemes into a meaningful expression through its (morpheme's) form & structure. Thus, in essence, the morpheme is a structural combination of phonemes in Odia. In other words, in the Odia language, the morpheme is a combination of sounds that possess and convey a meaning. A morpheme is not necessarily a meaningful word in Odia. In Odia, every morpheme is either a base or an affix.
Linguistics is the scientific study of language. It involves an analysis of language form, language meaning, and language in context, as well as that of the social, cultural, historical, and political factors that influence language. Linguists traditionally analyse human language by observing an interplay between sound and meaning. Historical and evolutionary linguistics focus on how languages change and grow, particularly over an extended period of time.
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition.
Semiotics of music videos is the observation of symbolism used within music videos.
Philip Tagg is a British musicologist, writer and educator. He is co-founder of the International Association for the Study of Popular Music (IASPM) and author of several influential books on popular music and music semiotics.
References
- 1 2 Tagg, Philip (1979). Kojak--50 seconds of television music: toward the analysis of affect in popular music . Studies from the Department of Musicology. 2. Musikvetenskapliga Institutionen. ISBN 9789172222359.
- ↑ Tagg, Philip (2012). Music's Meanings: A Modern Musicology for Non-Musos. Mass Media's Scholar's Press. ISBN 9780970168450.
- 1 2 3 Middleton, Richard (1990). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.