Gdańsk, Poland

Composition and Theory of Music

Kompozycja i teoria muzyki

Bachelor's
Language: PolishStudies in Polish
Subject area: arts
Kind of studies: full-time studies
Composition
Composition or Compositions may refer to:
Music
Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics (loudness and softness), and the sonic qualities of timbre and texture (which are sometimes termed the "color" of a musical sound). 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 (such as songs without instrumental accompaniment) and pieces that combine singing and instruments. The word derives from Greek μουσική (mousike; "art of the Muses"). See glossary of musical terminology.
Theory
A theory is a contemplative and rational type of abstract or generalizing thinking, or the results of such thinking. Depending on the context, the results might, for example, include generalized explanations of how nature works. The word has its roots in ancient Greek, but in modern use it has taken on several related meanings.
Music
We get nearer to the Lord through music than perhaps through any other thing except prayer.
J. Reuben Clark, LDS Conference Report, Oct. 1936.
Music
And music too—dear music! that can touch
Beyond all else the soul that loves it much—
Now heard far off, so far as but to seem
Like the faint, exquisite music of a dream.
Thomas Moore, Lalla Rookh (1817), The Veiled Prophet of Khorassan.
Theory
Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us. “Philosophy is the microscope of thought.” The theory or idea or system which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract theory we have not identified with ourselves, or what is only conventional, has no real claim upon us.
Walter Pater (1873), The Renaissance, Conclusion
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