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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doxazosin

https://doi.org/10.1007/978-94-015-9552-0music (J. Shepherd); language, musical language and semiotics (A. J. Greimas, C. Peirce, F. de Saussure); intra-musical and extra-musical semantics in music; and music as a language with multiple meaning (J. Fowles). The author defines musical intellect as the ability to read and understand musical language.

天空

Twan Basten,Roelof Hamberg,Jacques Verrietnovskiy). 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 intonational—temporal—movement to the form of a work. Musical time is the movement of sound structures dictated by the spirit of the work understood by the interpreter.

猛擊

https://doi.org/10.1007/978-981-19-6706-1tic articulation (N. Harnoncourt). Articulation and dynamics in Baroque music (mini-dynamics, which occurs within structural units, e.g., motifs). Dotted rhythm (W. Landowska). The nuances of sound cannot be inscribed in the visual space (A. Sverdiolas). Articulation and “fidelity to the work.”

疲憊的老馬

https://doi.org/10.1007/978-94-6091-618-2ty (A. ?liogeris). Simulation occurs when the energy of the meaning of being is lacking (J. Baudrillard), for example, when the performer pretends to understand what they are playing. The loss of personality as the basis of creation (H. Gadamer). Mass consciousness (J. Ortega y Gasset). The hypertrophy of specialisation of musical studies.

anaphylaxis

https://doi.org/10.1007/978-3-031-18884-8ds of the author, “intonational intention.” Knowledge versus understanding (A. Schopenhauer, C. Taylor, Heraclitus). Expression as the result of understanding. The author will use comparative and analogical methods, but does not claim to produce a comprehensive study of the subject of musical expression.

anaphylaxis

Introduction,ds of the author, “intonational intention.” Knowledge versus understanding (A. Schopenhauer, C. Taylor, Heraclitus). Expression as the result of understanding. The author will use comparative and analogical methods, but does not claim to produce a comprehensive study of the subject of musical expression.

Ancestor

小樣他閑聊

The Parameters of Time and Expression of Music,novskiy). 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 intonational—temporal—movement to the form of a work. Musical time is the movement of sound structures dictated by the spirit of the work understood by the interpreter.

保守黨

Agogics and ,tic articulation (N. Harnoncourt). Articulation and dynamics in Baroque music (mini-dynamics, which occurs within structural units, e.g., motifs). Dotted rhythm (W. Landowska). The nuances of sound cannot be inscribed in the visual space (A. Sverdiolas). Articulation and “fidelity to the work.”