ᏗᎧᏃᎩᏛ

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Template:Portal ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏗᏟᎶᏍᏙᏗ, ᎤᏓᏅᏘ ᏧᎾᎵᏃᎮᏗ, ᎠᎴ ᏐᎢ ᏴᏫ ᎠᎵᏂᎬᏁᏗᎢ Ꮎ ᎠᏓᏠᏯᏍᏙᏗ ᎤᎾᏙᏢᏅᎯ ᎠᎴ ᎤᏃᏴᎬ ᏚᏃᏴᎬ ᎠᎴ ᎡᎷᏪᎢ. ᎾᏍᎩ ᎨᏒᎢ ᎢᏳᏂᏪᏛ ᎭᏫᎾᏗᏢ ᏓᏓᎴᏂᏍᎬ ᎠᏗᏅᏗ, ᏗᏍᏆᎸᏙᏗ, nvwatohiyadv, ᎠᎴ ᎠᏟᎶᏍᏗ. ᏗᎧᏃᎩᏛ ᎠᏓᏠᏯᏍᏙᏗ ᏂᎦᏛ ᏥᏍᏚ ᏚᏙᏢᏒ ᎭᏫᎾᏗᏢ iyuwakodi ᏗᎬᏩᎶᏒ ᎯᎠ ᎠᏁᏍᎨᎲ ᏗᏟᎶᏍᏙᏗᎠᎴ ᎤᎾᏓᏟᏌᏅ ᏂᎬᏩᏍᏛ stimuli, ᎤᏂᎪᏗᏗ ᎤᏃᏴᎬ. ᏥᏄᏍᏗ ᏴᏫ ᎠᎵᏂᎬᏁᏗᎢ, ᏗᎧᏃᎩᏛ ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᎬᏔᏅᎯ ᎾᏍᎩᎾᎢ ᏗᏟᎶᏍᏙᏗᎦᎾᏄᎪᏫᏒ ᎠᎴ ᎠᏒᎾᏍᏗᏱ, ᎠᏓᏃᎯᏎᏗ, ᎤᏓᏅᏘ ᏧᎾᎵᏃᎮᏗ, ᎠᎴ ᎬᏂᎨᏒ ᎢᎬᏁᏗ ᏂᏚᏰᎸᏛᎢ. ᎯᎠ ᏩᏎᏍᏗ ᎾᎿ ᎦᏙ ᎤᏍᏗ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᏗᎧᏃᎩᏛ varies ᎧᎵ ᏗᏙᎳᎩ ᎥᎦᏔᎲᎢ ᎠᎴ ᎠᎾᏓᏟᏏᏍᎬ ᏄᏍᏗᏓᏅ.

ᎤᏠᏱ ᎾᎬᏁᎲ  ᏗᎧᏃᎩᏛ, ᎾᎥᎢ Filippino Lippi
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ᎤᏠᏱ ᎾᎬᏁᎲ ᏗᎧᏃᎩᏛ, ᎾᎥᎢ Filippino Lippi
ᎤᏠᏱ ᎾᎬᏁᎲ  ᏗᎧᏃᎩᏛ, ᎾᎥᎢ Lorenzo Lippi
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ᎤᏠᏱ ᎾᎬᏁᎲ ᏗᎧᏃᎩᏛ, ᎾᎥᎢ Lorenzo Lippi

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[edit] ᏩᏎᏍᏗ ᎾᎿ ᏗᎧᏃᎩᏛ

Template:Mainarticle ᎯᎠ broadest ᏩᏎᏍᏗ ᎾᎿ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎤᎾᏙᏢᏅᎯ ᎤᏃᏴᎬ. ᎾᎿᎢ ᎠᎴ observable ᏧᎾᏟᎶᏍᏙᏗ ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎠᏯᏖᎾ labeled ᏗᎧᏃᎩᏛ, ᎠᎴ ᎾᎯᏳᎢ ᎾᎿᎢ ᎠᎴ understandable cultural ᏗᎧᏃᎩᏛ, ᎯᎠ properties ᏗᎧᏃᎩᏛ ᎠᎴ ᎯᎠ properties ᎤᏃᏴᎬ ᏥᏄᏍᏗ perceived ᎠᎴ processed ᎾᎥᎢ ᎠᏂᏴᏫ.

ᎤᏟ ᎢᎦᎢ ᎠᏂᏙᎾᎥ ᏩᏎᏍᏗ ᎾᎿ ᏯᏓᎢᏗᏏ ᎾᏍᏋ: ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎠᏟᎶᏍᏗ ᎤᏃᏴᎬ ᎪᏢᏅᎯ ᎾᎥᎢ ᎯᎠ ᏓᎾᏁᎶᎲᏍᎬ ᎪᎱᏍᏗ ᏗᎬᏔᏂᏓᏍᏗ ᏥᏄᏍᏗ ᏂᎦᏛ ᎠᎴ ᎠᏂᏏᏴᏫᎭ. ᎾᏍᎩ ᎨᏒᎢ ᎠᏓᏎᎮᏗ ᎢᎦᏪᏛ ᏴᏫ ᎠᏓᏖᎸᏍᎬ ᎠᏎᎸ ᎢᏗᎬᏁᏗ ᎠᏒᎾᏍᏗ ᎠᎴ ᏧᎾᏍᏗ ᎯᎠ ᎠᏓᏖᎸᏍᎬ ᎯᎠ ᎠᏛᎩᏍᎬ/ᎠᏛᎩᏍᎬ. ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎠᏎᎸ ᎢᏗᎬᏁᏗ ᎾᏍᏋ ᎤᏒᏂᎸ ᏧᏓᎴᎿᎢ ᎤᏃᏴᎬ ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎤᎾᏛᎦᏅ.

ᎠᎪᎢ ᏗᏕᎶᏆᏍᎩ ᎠᎴ lyudetiyvda theorists ᎧᏁᎢᏍᏔᏅᎯ ᏗᎧᏃᎩᏛ ᏥᏄᏍᏗ ᎤᏃᏴᎬ ᎠᏓᏅᏒᎯ ᎤᏩᎾᏕᏍᎩ ᏥᏄᏍᏗ melodies, ᎠᎴ ᏄᎶᏒᏍᏛᎾ ᏥᏄᏍᏗ harmonies. ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, ᎭᏫᏂᏗᏢ ᎪᎯ ᎤᏔᏂᏗ ᎦᏙᎯ, ᎨᏒᎢ ᎤᎦᏎᏍᏔᏅᎩ ᎬᏙᏗ ᎯᎠ ᏄᏍᏗᏓᏅ Ꮎ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏄᏦᎠᏎᏛᎾ ᎠᎴ ᎢᏳᏓᎵᎭ ᎤᎵᎶᎲᏍᎩ ᎠᏛᎩ. ᏱᏂᎬᏛᎾ, ᎭᏫᎾᏗᏢ ᎯᎠ 20th sqohitsuqui tsudetiyvdi, ᎠᏟᎶᏍᏗ challenged ᎯᎠ ᎢᏰᎵᏍᏗ Ꮎ ᏗᎧᏃᎩᏛ ᎠᏰᎲ ᎾᏍᏋ ᎤᎵᎶᎲᏍᎩ ᎾᎥᎢ creating ᏗᎧᏃᎩᏛ Ꮎ explored harsher, darker ᎠᏟᎶᏍᏗ. ᎯᎠ ᎬᏂᎨᏒ ᏄᏍᏛᎢ ᎢᎦᏛ ᎪᎯᏊ ᎢᏴ ᏥᎩ-ᎢᎦ ᎠᏂᎶᏁᏍᎬ ᏯᏛᎿ ᏥᏄᏍᏗ ᎠᏲᎱᎯᏍᏗ ᎠᎾᎦᎵᏍᎩ ᎦᏂᏱᏍᎩ ᎠᎴ grindcore, ᎦᏙ ᎤᏍᏗ ᎠᎵᎮᎵᏍᏗ ᎤᏁᏉᏨᎯ ᎭᏫᎾᏗᏢ ᎦᏙᎯ ᎠᏍᏓᏩᏗᏒ, ᎠᏓᏎᎮᏗ Ꮎ ᎢᏧᎳᎭ ᎯᎠ harshest ᏚᏃᏴᎬ ᏰᎵᏇ ᎾᏍᏋ ᎠᎦᏎᏍᏔᏅ ᏗᎧᏃᎩᏛ ᎢᏳᏃ ᎯᎠ ᎠᏛᎩᏍᎬ ᎨᏒᎢ ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ ᎠᏗᏌᎭᏓᏛ.

20th sqohitsuqui tsudetiyvdi ᎠᏟᎶᏍᏗ ᎦᎳᏅᎯ ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ disagreed ᎬᏙᏗ ᎯᎠ ᎢᏰᎵᏍᏗ Ꮎ ᏗᎧᏃᎩᏛ ᎠᏎ ᎤᏠᏯᏍᏗ ᎤᎵᎶᎲᏍᎩ, ᎦᎾᏄᎪᏨᎢ melodies. ᎾᏍᎩᏍᎩᏂ ᏂᎨᏒᎾ, ᎾᏍᎩ ᎠᏍᎦᏯ argued Ꮎ ᏂᎦᎵᏍᏗᏍᎬᎫ ᏚᏃᏴᎬ ᎢᏧᎳ ᏰᎵᏇ ᎠᏛᎩ ᏰᎵᏇ ᎾᏍᏋ ᏗᎧᏃᎩᏛ, ᎧᏁᎬᎢ, ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, "ᎾᎿᎢ ᎨᏒᎢ Ꮭ ᎤᏃᏴᎬ, ᎾᏍᎩ ᎤᏩᏒ ᎤᏃᏴᎬ,"[2]. ᎧᎵ ᏗᏙᎳᎩ musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "ᎯᎠ ᎠᏟᎶᏛ ᎬᎪᏛ ᎠᏰᎵ ᏗᎧᏃᎩᏛ ᎠᎴ ᎤᏃᏴᎬ ᎨᏒᎢ ᏂᎪᎯᎸᎢ culturally ᎧᏁᎢᏍᏔᏅᎯ--ᎦᏙ ᎤᏍᏗ implies Ꮎ, ᎢᏧᎳᎭ ᎭᏫᏂᏗᏢ ᏏᏴᏫ ᎤᎾᏙᏢᎯ, ᎪᎯ ᎠᏟᎶᏛ ᎬᎪᏛ ᎾᏛᏁ ᎾᏍᎩ ᏂᎨᏒᎾ ᏂᎪᎯᎸᎢ ᎠᎦᏛᎴᎯᏍᏗ ᏗᎬᏩᎶᏒ ᎯᎠ ᎤᏠᏱ ᎾᎿᎢ; ᎭᏫᎾᏗᏢ ᏍᏆᎳᎢ, ᎾᎿᎢ ᎨᏒᎢ ᎢᏅᎯ ᎢᏳᏓᎵ ᎪᎯᏳᏙᏗ.... ᎾᎥᎢ ᏂᎦᏛ ᎠᏕᎳ ᎾᎿᎢ ᎨᏒᎢ Ꮭ ᏏᏴᏫ ᎠᎴ intercultural ᎢᎬᏩᎾᏓᎴᎩ ᎠᏓᏅᏖᏗ defining ᎦᏙ ᎤᏍᏗ ᏗᎧᏃᎩᏛ ᏄᎵᏂᎬᎬ ᎾᏍᏋ."

ᎯᎠ ᎠᏟᎶᏍᏗ Anton Webern ᎤᏃᎮᎸᎩ "ᎬᏙᏗ ᎠᏴ, ᏧᏓᎴᏅᏓ ᎥᏝ ᎠᎦᏔᎲᏍᏗ atsinuqowisgv ᏥᏄᏍᏗ ᎠᏯ ᎠᏚᎳᏗ, ᎠᎴ ᎾᏍᎩ ᎤᏩᏒ ᏥᏄᏍᏗ ᎨᏒᎢ ᎤᏍᏆᎸᎲ ᎾᏍᎩᎾᎢ ᎠᏴ-ᏥᏄᏍᏗ ᎠᏯ ᎠᏎ", ᎦᏙ ᎤᏍᏗ ᏗᏫᏒᏗ atsinuqowisgv ᎤᏤᎵ ᏗᎧᏃᏗᎢ ᎯᎠ underlying ᏥᏍᏚ ᏧᎵᎬᏩᎳᏅᎯ ᏗᎧᏃᎩᏛ. ᎯᎠ ᎠᏓᏥ ᏗᏕᎶᏆᏍᎩ Johann Wolfgang Von Goethe ᎤᏬᎯᏳᏅ Ꮎ ᏧᎾᏟᎶᏍᏙᏗ ᎠᎴ ᏚᏙᏢᏒ ᎨᏒᎩ ᎯᎠ ᎠᎴᏅᏙᏗ ᏗᎧᏃᎩᏛ; ᎾᏍᎩ ᎠᏍᎦᏯ ᎤᏃᎮᎸᎩ Ꮎ "ᎠᏓᏁᎳᏅᎯ ᎨᏒᎢ ᎤᏁᏍᏓᎳ ᏗᎧᏃᎩᏛ."

[edit] ᎧᏃᎮᏍᎩ

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ᎯᎠ ᎧᏃᎮᏍᎩ ᏗᎧᏃᎩᏛ ᎭᏫᎾᏗᏢ ᎠᎾᎵᏐᏈᎸᏍᎬ ᏴᏫ ᎠᎴᏂᏙᎲ predates ᎯᎠ ᎪᏪᎳᏅᎯ ᎧᏁᏨ ᎠᎴ ᎨᏒᎢ ᏗᎧᏁᎸ ᎯᎠ ᏚᏙᎳᏩᏛᎲ ᎠᎴ ᏧᏓᎴᎿᎢ ᎢᎦᏪᏛ ᏧᏓᎴᏅᏓ ᏴᏫ ᎥᎦᏔᎲᎢ. ᏗᎧᏃᎩᏛ ᎤᎭ influenced ᎠᏍᎦᏯ, ᎠᎴ ᏔᎵᏁ ᎠᏓᎴᏁ versa, ᎣᏂ ᏧᏩᎫᏛ ᎯᎠ ᎤᎩᏥᏍᎬ ᎠᏓᏅᏘᏐᏗ. ᎯᎠ ᎢᎬᏱᏗᏢᏍᏗ ᎤᏙᏢᏒ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎢᎦᏪᏛ ᎨᏒᎢ ᎾᏍᏋ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎯᎠ Sama Veda ᎠᎹ ᎦᏄᎪᎬ. ᎤᏂᎸᏉᏗ ᏧᎾᏣᏅᏙᏗ ᏗᎧᏃᎩᏛ ᏚᏟᎶᏍᏔᏅ ᏂᎬᎢ ᏂᏛᎴᏅᏓ ᎥᎦᏔᎲᎢ ᎥᎦᏔᎲᎢ, ᎠᎴ ᏂᏛᎴᏅᏓ ᎠᎴᏫᏍᏙᏗ ᎠᎴᏫᏍᏙᏗ. ᏄᏓᎴᎿᎥ ᎥᎦᏔᎲᎢ emphasized ᏄᏓᎴᎿᎥ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ, ᎠᎴ techniques. ᏗᎧᏃᎩᏛ ᎧᏃᎮᏍᎩ ᎤᏩᏌᏊ ᎨᏒᎢ ᎯᎠ ᎤᏤᎵᏛ subfield musicology ᎠᎴ ᎧᏃᎮᏍᎩ, ᎦᏙ ᎤᏍᏗ ᏗᎦᏎᏍᏙᏗ ᎯᎠ ᎢᏳ ᎢᎪᎯ ᏚᏙᎳᏩᏛᎲ ᏗᎧᏃᎩᏛ, ᎢᎬᏱᏗᏢ ᎭᏫᎾᏗᏢ ᎯᎠ ᏭᏕᎵᎬᏗᏢ ᎡᎶᎯ. ᏗᎧᏃᎩᏛ ᎤᎭ ᎾᏍᎩ ᎾᏍᏇ ᏭᏪᏙᎢ ᎬᏔᏅᎯ ᎤᏜᏅᏛ ᎾᏍᎩᎾᎢ ᎤᏬᎯᏳᏒ.

ᏥᏄᏍᏗ ᎾᎿᎢ ᎠᎴ ᎤᎪᏗᏗ ᏩᏎᏍᏗ ᎾᎿ ᎾᏍᎩᎾᎢ ᏗᎧᏃᎩᏛ ᎾᎿᎢ ᎠᎴ ᎤᎪᏗᏗ ᎠᏰᏗ ᎢᏳᏓᏛ ᎠᎴ ᎠᏓᏁᎳᏅᎯ ᏗᎧᏃᎩᏛ, ᎤᎪᏗᏗ ᎦᏙ ᎤᏍᏗ ᎠᎴ ᎦᏂᏴᏛ ᎦᎸᎳᏗᏢ ᎭᏫᎾᏗᏢ ᎯᎠ ᏗᎪᏏᏐᏗ ᎦᏬᎯᎸᏙᏗ ᎯᎠ ᏩᏎᏍᏗ ᎾᎿ ᏗᎧᏃᎩᏛ. ᏄᎾᏛᏅ ᎯᎠ ᎡᏆᎯᎨᏍᏙᏗ ᎠᏂᎶᏁᏍᎬ ᎠᎴ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ, ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᏓᎾᏅᏗ ᏗᎧᏃᎩᏛ (ᎠᏠᏯᏍᏗᏍᎩ ᏅᏯ ᎠᎴ ᎠᏲᏛᎯ), ᏙᏱᏗᏢ ᎦᏚᎲ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᏍᎦᏯᎭ ᏗᎧᏃᎩᏛ.

ᎾᎿᎢ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎬᏙᏗ ᎦᏬᎯᎸᏙᏗ ᎦᏙ ᎤᏍᏗ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ "ᎤᏙᎯᏳ ᎾᏍᎩ" ᏗᎧᏃᎩᏛ: ᎣᏂᏱᏳ-ᎠᎴᏫᏍᏙᏗ Beethoven ᏧᏠᎯᏍᏗ ᏅᎩ ᎢᏯᏂᎢ, Stravinsky ᏓᎾᏛᏁᎵᏍᎬ ᎤᏂᎪᏗᏗ, serialism, bebop-ᏗᏓᎴᏂᏍᎬ Jazz, ᎬᎾᏍᏗ, ᏔᏩᎵ ᏅᏯ, ᎠᎴ electronica ᎤᎭ ᏂᎦᏛ ᏭᏪᏙᎢ ᎠᎦᏎᏍᏔᏅ ᎬᏙᏗ-ᏗᎧᏃᎩᏛ ᎾᎥᎢ ᎢᎦᏛ ᏗᎫᎪᏔᏅ ᎯᎳᎪ ᎢᏳ ᎤᏅᏌ ᎨᏒᎩ ᎢᎬᏱ ᎬᏂᎨᏒ ᏄᏩᏁᎸ.

ᎯᎠ ᎠᎴᏂᏍᎬ ᎡᎶᎯ ᏗᎧᏃᎩᏛ ᎤᎭ ᏭᏪᏙᎢ ᎢᎬᎾᏔᏅᎯ ᎠᏯᏖᎾ ᎠᏍᏓᏅᏅ ᏗᎧᏃᎩᏛ ᎪᏢᏅᎯ ᏙᏯᏗᏢ Europe ᎠᎴ European ᎾᏓᏛᏂᏌᏁᎲ, ᎾᏍᎩ ᎤᏁᎳᎩ Ꮝ ᎠᎴᏅᏘᏍᎬ ᎠᏔᏲᏍᏙᏗ, ᎭᏫᎾᏗᏢ ᎯᎠ ᏄᏍᏗᏓᏅ ᎯᎠ ᎡᎶᎯ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᏗ ᎾᎾᎢ ᎦᎵᏓᏍᏛ ᏗᏕᎶᏆᏍᏗ, ᏥᏄᏍᏛᎩ ᏥᏄᏍᏗ ᎠᎴᏂᏍᎬ ᎠᏠᏯᏍᏗᏍᎩ ᏂᎦᏛ ᏰᎵᏊ ᏗᎧᏃᎩᏛ ᎠᏂᎶᏁᏍᎬ, ᎠᏠᏯᏍᏗᏍᎩ European ᎧᏃᎮᎸᎯ. (ᎭᏫᎾᏗᏢ ᏄᏍᏗᏓᏅ ᎦᏐᏆᎸ, ᎯᎠ ᎠᎴᏅᏗᏍᎬ ᎠᎴᏂᏍᎬ ᎾᏍᎩᎾᎢ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎡᎶᎯ ᏗᎧᏃᎩᏛ, "ᎢᎦᎢ ᎢᎦᏘ musicology", ᏥᏄᏍᏛᎩ ᏅᎪᏢᎯᏌᏅ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏰᎵ ᎯᎠ ᏔᎵᏍᎪᎯᏁ sqohitsuqui tsudetiyvdi ᎾᎥᎢ "ethnomusicology", ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᏙᎢ ᎠᏓᏲᏍᏓᏁᏗ ᎠᏛᎯᏍᏙᏗ.)

ᎠᏂᎶᏁᏍᎬ ᏗᎧᏃᎩᏛ ᎠᎴ ᏥᏄᏍᏗ ᎢᏳᏓᎵᎭ ᏕᎫᎪᏔᏅ ᎾᎥᎢ ᎧᏃᎮᎸᎯ ᎠᎴ ᏓᎾᏓᏁᎲᎢ ᏥᏄᏍᏗ ᎾᎥᎢ ᎯᎠ ᎤᏙᎯᏳᏒ ᏗᎧᏃᎩᏛ. ᎾᎯᏳᎢ ᎤᎪᏗᏗ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎠᏛᎩᏍᎬ ᎠᎴ ᏁᎵᏒᎢ ᎾᏍᏋ ᏄᏛᏁᎸ ᎾᎥᎢ ᏗᏂᏏᏴᏫᎭ ᎠᎴ ᏚᎾᏓᏟᏌᎲ, ᎤᎪᏗᏗ ᏧᏂᎸᏫᏍᏓᏁᏗ ᏄᏍᏛ ᎧᏃᎮᎸ ᏥᏄᏍᏗ "ᎠᏓᏙᎵᏍᏗ" ᎠᏠᏯᏍᏛ ᎯᎸᏍᎩ ᏗᏟᎶᏍᏙᏗ ᎠᎴ ᎠᏍᏓᏅᏅ, ᎠᎴ ᎠᎴ ᎪᎱᏍᏗ ᎪᏢᏙᏗ. ᎢᎦᏛ ᏧᏂᎸᏫᏍᏓᏁᏗ, ᎾᏍᎩᏯᎢ Gershwin ᎤᏤᎵ ᎠᏍᏆᎵᏍᏗ ᎭᏫᎾᏗᏢ ᏌᎪᏂᎨ, ᎠᎴ ᎠᏆᏤᎵ ᎤᏛᏅᎩ ᎾᎥᎢ ᎢᏧᎳ jazz ᎠᎴ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ.

ᏥᏄᏍᏗ ᎡᎶᎯ ᎥᎦᏔᎲᎢ ᎤᎭ ᏭᏪᏙᎢ ᎭᏫᎾᏗᏢ ᎡᏆ ᎢᎨᏍᏙᏗ ᏚᏓᏂᏴᏒ, ᎤᎾᏤᎵ ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏧᎾᏣᏅᏙᏗ ᎤᎭ ᎢᏳᏓᎵᎭ ᎤᎾᏓᏟᏌᎲ ᎾᎾᎯ ᎢᏤ ᏧᎾᏣᏅᏙᏗ. ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᎯᎠ ᎠᏫᏒᏗ ᎧᏃᎮᎭ bluegrass ᎠᏣᏅᏗ ᎢᎦᎢ ᎨᏐ ᎢᏧᏓᎴᎩ ᏂᏛᎴᏅᏓ Anglo-ᎦᏁᎳ, ᎦᏁᎳ, ᎦᏁᎳ, ᎠᏓᏥ ᎠᎴ ᎢᎦᏛ African-ᏴᏩᏁᎬ ᏫᏚᏳᎪᏛ ᎠᎴ ᎠᎰᎵ ᎤᏃᏴᎬ ᎧᏃᎮᎸᎯ, ᎦᏙ ᎤᏍᏗ ᎨᏒᎩ ᏰᎵᏆ ᎢᏯᏛᏁᏗ ᎤᎾᏓᏟᏌᏅ ᎭᏫᎾᏗᏢ ᎯᎠ ᎢᏧᎳ ᎠᏴ' multi-ᎦᎵᏓᏍᏛ "ᎤᎦᎾᏭ ᏧᎳᏍᎩ" ᎤᎾᏙᏢᎯ.

ᎤᎪᏗᏗ ᎠᎵᏱᎵᏒ ᎧᏃᎮᏗ ᏗᎧᏃᎩᏛ ᏓᎾᎵᏍᏓᏴᎲᏍᎬ ᎤᎾᏕᏘᏱᏍᎬ ᎾᏍᎩᎾ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏂᎶᏁᏍᎬ.

[edit] ᎢᎦᏛ ᏗᎧᏃᎩᏛ

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ᎯᎠ ᎧᏃᎮᎸᎯ ᎠᎴ ᎠᏓᏙᎵᏍᏗ European ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎢᏳᏓᎵᎭ ᏧᏓᎴᏅᏓ ᏗᎧᏃᏗ ᎠᎴ ᎾᏍᎩ ᎢᏧᏓᎴᎩ ᎠᏓᏁᎸ ᎤᎾᏤᎵᏛ ᎭᏫᎾᏗᏢ European-influenced ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ: ᎠᏟᎶᏍᏗ, nvwatohiyadv, ᏗᏍᏆᎸᏙᏗ, ᎤᏃᏴᎬ ᏗᎧᏃᏗ ᎠᎴ ᎠᏟᎶᏍᏗ, ᎠᎴ ᎤᏙᏢᏒ. ᎤᏟ ᎢᎦᎢ ᏂᎦᏛ ᏙᎪᏩᎸ ᎨᏒᎢ ᎠᏓᏁᎸ ᎾᎥᎢ ᎧᏃᎮᎸᏍᎬ ᎯᎠ ᎢᎦᏛ ᎤᏃᏴᎬ: ᎠᏗᏅᏗ, ᎠᏟᎶᏍᏗ, ᎤᎳᏂᎬᎬ, ᎠᎴ iyuwakodi.[1] ᎾᏍᎩ ᎯᎠ ᎢᎦᏛ ᎦᏟᏌᏅ ᎪᏢᏗ ᎠᏂᎦᏲᎵ ᎢᎦᏛ ᎠᏠᏯᏍᏗᏍᎩ ᎠᏛᎯᏍᏙᏗ, ᎦᏅᏙᎬ ᎠᎴ ᎠᏣᏅᏗ. ᏐᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎠᏠᏯᏍᏔᏅ ᎢᎦᏛ ᎠᏠᏯᏍᏛ ᎯᎠ spatial ᎦᎷᎯᏍᏗ ᎠᎴ ᎯᎠ ᎠᏓᏅᏏᏙᎠ ᎭᏫᎾᏗᏢ ᎤᏜᏅᏛ ᏚᏃᏴᎬ, ᏄᏍᏛ ᏗᎧᏃᏗ, ᎠᎴ ᎠᎳᏍᎩᏓ.

ᎡᎷᏪᎢ ᎤᎭ ᎦᏅᎯᏓ ᏭᏪᏙᎢ ᎠᎦᏎᏍᏔᏅ ᎤᏔᏂᏗ ᎦᏙᎯ ᏗᎧᏃᎩᏛ, ᎤᏃᏴᎬ ᏂᏛᎴᏅᏓ ᎯᎠ ᎤᎾᏛᏁᎵᏗ ᎠᎴᏫᏍᏙᏗ ᎭᏫᎾᏗᏢ ᎢᏰᎵᏍᏗᎢ-ᏗᏓᎴᏂᏍᎬ symphonies ᎯᎠ ᎾᏛᏁᎸ-ᎾᏛᏁᎸ ᎬᏙᏗ ᎡᎷᏪᎢ ᏥᏄᏍᏗ ᏗᏟᎶᏍᏗᏍᎩ ᎧᏃᎮᎸᎯ ᎭᏫᎾᏗᏢ 20th sqohitsuqui tsudetiyvdi ᏧᏂᎸᏫᏍᏓᏁᏗ ᏯᏛᎿ ᏥᏄᏍᏗ ᎦᎳᏅᎯ ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ ᎤᏤᎵ 4'33."ᎦᎳᏅᎯ ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ ᎠᎦᏎᏍᏙᏗ iyuwakodi ᎯᎠ ᎢᎬᏱ ᎠᎴᏅᏗ ᎤᏔᏂᏗ ᎦᏙᎯ ᏗᎧᏃᎩᏛ ᎢᎬᏂᏏᏍᎩ ᎾᏍᎩ ᎨᏒᎢ ᎯᎠ ᎾᏍᎩ ᎤᏩᏒ ᎤᏔᏂᏗ ᎦᏙᎯ ᏧᏣᏔᏊ ᎢᏧᎳ "ᎤᏃᏴᎬ" ᎠᎴ "ᎡᎷᏪᎢ."

ᏥᏄᏍᏗ ᎤᏁᎢᏍᏔᏅᎩ ᎦᎸᎳᏗᏢ, ᎾᏍᎩ ᏂᎨᏒᎾ ᎾᏍᎩ ᎤᏩᏒ ᎿᏛᎦ ᎯᎠ ᎢᎦᏛ ᎠᏠᏯᏍᏔᏅ ᏥᏄᏍᏗ ᏗᎧᏃᎩᏛ ᏧᏓᎴᎾᎯ, ᎤᎾᏤᎵ ᏭᎵᏍᎨᏗᏴ varies. ᎾᏍᎩᎾᎢ ᏄᎵᏍᏛ, ᎠᏟᎶᏍᏗ ᎠᎴ nvwatohiyadv ᎠᎴ ᎢᏳᏓᎵᎭ ᎠᎦᏎᏍᏔᏅ ᎾᏍᏋ ᎠᏓᏁᎸ ᎤᏟ ᎢᎦᎢ ᏭᎵᏍᎨᏗᏴ ᎭᏫᎾᏗᏢ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ ᎾᎾᎢ ᎯᎠ ᏓᎵᎬᏩᎸᏍᎬ ᏗᏍᏆᎸᏙᏗ ᎠᎴ ᎠᏟᎶᏍᏗ. ᎾᏍᎩ ᎨᏒᎢ ᎢᏳᏓᎵᎭ debated ᎢᏳᏃ ᎾᎿᎢ ᎠᎴ ᎢᎦᏛ ᏗᎧᏃᎩᏛ Ꮎ ᎠᎴ ᎢᎬᏩᎾᏓᎴᎩ. ᎯᎠ ᏗᏟᏴ ᏗᎦᏬᏂᎯᏍᏗ ᎢᏳᏓᎵᎭ ᎦᏙᏌᏗᏍᏗ ᎾᎿ ᏩᏎᏍᏗ ᎾᎿ. ᎾᏍᎩᎾᎢ ᏄᎵᏍᏛ, ᎯᎠ ᏰᎵ ᎣᏏ ᏧᏣᏔᏊ ᎧᏃᎮᎸᎯ Ꮎ "ᎠᏟᎶᏍᏗ" ᎨᏒᎢ ᎢᎬᏩᎾᏓᎴᎩ ᏂᎦᏛ ᏗᎧᏃᎩᏛ ᎧᏁᎦ ᎢᏯᏛᏁᏗ ᎤᏜᏅᏛ ᏩᏎᏍᏗ ᎾᎿ ᎠᏟᎶᏍᏗ.

ᏧᏩᏚᏃᎯ ᎨᏒᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎠᎩᏒᎯ ᏥᏄᏍᏗ ᎢᎬᏩᎾᏓᎴᎩ, ᎩᎳ ᎾᎿᎢ ᎬᏂᎨᏒ ᏄᏍᏗ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᎠᎰᎵ ᎤᏃᏴᎬ ᎠᎴ ᏫᏚᏳᎪᏛ ᎠᏂᎶᏁᏍᎬ ᎬᏙᏗ ᎠᏎᏊᎢ, improvisational ᏗᏍᏆᎸᏙᏗ ᎬᏙᏗ Ꮭ ᎤᏠᏱᎭ ᏧᏩᏚᏃᎯ;[2] ᏌᏊ ᏱᏓᏟᎶᏍᏔᏅ ᎨᏒᎢ ᎯᎠ alap ᎾᎿ ᎨᏒ ᏔᎵ ᎢᏳᏩᎫᏘ ᏗᎧᏃᎩᏛ ᎾᎾᏛᏁᎲ. ᎧᎵ ᏗᏙᎳᎩ Dane Harwood, "ᎢᏧᎳ ᎠᏎ ᎠᏓᏛᏙᏗ ᎢᏳᏃ ᏓᏓᎿᏩᏍᏛ-cultural ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎢᎬᏩᎾᏓᎴᎩ ᎨᏒᎢ ᎾᏍᏋ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᏗᎧᏃᎩᏛ ᎤᏩᏌᏊ (ᎢᏳᏍᏗᏊ Ꮝ ᎠᏛᎯᏍᏙᏗ ᎠᎴ ᎤᏯᎾᏛᏁᏗ) ᎠᎴ ᎯᎠ ᎦᎶᎯᏍᏗ ᎭᏫᎾᏗᏢ ᎦᏙ ᎤᏍᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎪᏢᏅᎯ. ᎾᎥᎢ 'ᏗᎧᏃᎩᏛ-ᎠᏃᏢᏍᎬ,' ᎠᏯ ᏃᎵᏍᎬ ᎾᏍᎩ ᏂᎨᏒᎾ ᎾᏍᎩ ᎤᏩᏒ ᎤᏙᎯᏳᏒ ᎾᎾᏛᏁᎲ ᎠᎴ ᎾᏍᎩ ᎾᏍᏇ ᎯᎳᎪ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎤᎾᏛᎦᏅ, ᎤᏬᎳᏨᎩ, ᎢᏧᎳᎭ ᎤᏕᎶᏆᎥ." [3]

[edit] ᎠᏛᎯᏍᏙᏗ

Template:Main ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎠᏒᎾᏍᏗᏱ ᎠᎴ ᏄᏛᏁᎸ ᎾᏍᎩᎾᎢ ᎤᎪᏗᏗ ᏂᏚᏰᎸᏛᎢ, ᎤᏃᏴᎬ ᏂᏛᎴᏅᏓ ᎠᏒᎾᏍᏗᏱ ᎠᎵᎮᎵᏥᏓᏍᏗ, ᏧᏁᎸᏗᏯ ᎠᎴ ᎬᏂᎨᏒ ᎢᎬᏁᏗ ᏂᏚᏰᎸᏛᎢ, ᎠᎴ ᏥᏄᏍᏗ ᎤᏓᏅᏘ ᏧᎾᎵᏃᎮᏗ ᎤᏛᏒᎯ ᎾᏍᎩᎾᎢ ᎯᎠ ᎤᏂᎾᏗᏅᏗ. ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᎪᏪᎶᏗ ᎠᎴ ᎢᏯᏛᏁᏗ ᏗᎧᏃᎩᏛ ᎾᏍᎩᎾᎢ ᎤᎾᏤᎵ ᎣᏤᎵ ᎠᎵᎮᎵᏥᏓᏍᏗ, ᎠᎴ ᎤᏅᏌ ᎿᏛᎦ ᎾᏍᎩ ᏂᎨᏒᎾ ᎠᏁᎸᏙᏗ ᏗᎫᎪᏔᏅ ᎤᎾᏤᎵ ᎤᎷᏤᎯ ᏂᏛᎴᏅᏓ ᏗᎧᏃᎩᏛ. ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᏥᎾᏝᎢ ᎾᎥᎢ ᎠᏍᏓᏅᏅ ᏓᎾᏕᏲᎲᏍᎬ ᎠᎴ ᏧᎾᏙᏢᎯ, ᎠᏠᏯᏍᏗᏍᎩ ᎤᎵᏍᏕᎸᏗ ᎠᏂᏌᏙᏯᏍᎩ, ᏧᏂᎳᏫᏍᏗ ᎠᎴ synagogues, ᎾᏛᏁᎸ ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎠᏗᎦᎴᏯᏍᏗ ᎠᎴ ᏫᏚᏳᎪᏛ ᎠᏛᎯᏍᏙᏗ ᏚᎾᏓᏡᎬᎢ, ᎠᎴ ᏗᎧᏃᎩᏛ ᏧᎾᏕᎶᏆᏍᏗ. ᏥᏄᏍᏗ ᎠᏔᎴᏒ ᎠᎹᏱ, ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᏗᎦᎸᏫᏍᏓᏁᏗ ᏥᏄᏍᏗ freelancers, ᎤᎪᎲᎢ ᏚᎾᏓᏁᏤᎸ ᎠᎴ ᏗᏓᏙᎳᏤᏗᏱ ᎭᏫᎾᏗᏢ ᏧᏓᎴᏅᏓ ᎦᏟᏌᏅ ᏗᏫᏍᏗ.

ᎾᏍᎩ ᎤᏁᎳᎩ ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᏚᏓᎴᎿᎥ ᏂᏛᎴᏅᏓ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎭᏫᎾᏗᏢ Ꮎ ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᎤᎭ ᎬᏙᏗ-ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏗᏓᎴᎲᏍᎬ ᎤᎷᏤᎯ, ᎾᎿᎢ ᎠᎴ ᎢᏳᏓᎵᎭ ᎤᎪᏗᏗ ᏗᏕᎬᏔᏛ ᎠᏰᎵ ᎠᎴᏂᏍᎩ ᎠᎴ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ. ᎠᏓᎴᏂᏍᎬ ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᎠᎩᏍᏗ ᎤᎾᏕᎶᏆᏍᏗ ᎬᏙᏗ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ. ᎭᏫᎾᏗᏢ ᎾᎥ ᏄᎾᏓᎸ ᏗᏫᏍᏗ, ᎠᏓᏌᎳᏙᏗ ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᏗ ᎬᏙᏗ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎭᏫᎾᏗᏢ ᏧᏓᎴᏅᏓ ᎦᏟᏌᏅ ᏂᎦᏛ ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ. ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᎢᏳᏓᎵᎭ ᏕᎦᎸᏛ ᎧᏁᏌᎢ, ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᏂᎦᏥᏙᎲ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᎤᏩᎾᏕᏍᎩ ᏰᎵᏊ, ᎠᎴ ᎤᏅᏌ ᎠᎴ ᏰᎵᏆ ᎢᏯᏛᏁᏗ ᎢᏯᏛᏁᏗ ᎭᏫᎾᏗᏢ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᎾᎾᏛᏁᎲ ᏗᏫᏍᏗ.

ᎤᎾᏤᎵᏛ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎪᏢᏅᎯ ᎠᏰᎵ ᏗᎧᏃᎩᏛ ᏄᏛᏁᎸ ᎾᏍᎩᎾᎢ ᎯᎠ ᎤᎵᏍᏕᎸᏙᏗ ᎠᎴᏂᏓᏍᏗ ᎤᎾᏛᏓᏍᏗ ᎠᎴ ᏗᎧᏃᎩᏛ Ꮎ ᎨᏒᎢ ᏄᏛᏁᎸ ᎾᏍᎩᎾᎢ ᎯᎠ ᎤᏰᎸᏛᎢ ᎠᎴᏂᏙᎲ ᎪᏪᎳᏅᎯ ᎠᎴ ᎠᏗᎦᎴᏴ ᏗᎬᏩᎶᏒ ᎯᎠ ᏗᎧᏃᎩᏛ ᎤᏍᏗ ᎠᏓᎾᏅ iyahdvnelidasdi ᎠᎴ ᎯᎠ ᎠᏗᎦᎴᏯᏍᏗ iyahdvnelidasdi. ᏱᏂᎬᏛᎾ, ᎾᎿᎢ ᎠᎴ ᎾᏍᎩ ᎾᏍᏇ ᎤᎪᏗᏗ ᏕᎦᎸᏛ ᎧᏁᏌᎢ ᎭᏢᏃ ᎠᎴᏂᏓᏍᏗ ᎾᎾᏛᏁᎲ ᎭᏫᎾᏗᏢ ᎢᎬᏱᏗᏢ ᎤᎾᏛᏓᏍᏗ ᎨᏒᎢ ᎪᏪᎳᏅᎯ ᎠᎴ ᎠᏗᎦᎴᏴ (ᎠᎴ ᎠᏗᎦᎴᏯᏍᏗ).

[edit] ᎾᎾᏛᏁᎲ

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Chinese Naxi ᏗᎧᏃᎩᏛ
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Chinese Naxi ᏗᎧᏃᎩᏛ

ᎩᎶ ᎠᏏᏴᏫ ᎦᎪ ᎢᏯᏛᏁᏗ, ᎪᏪᎶᏗ, ᎠᎴ ᎾᏛᏁᎲ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏗᎧᏃᎩᏛ. ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᏗ ᏗᎧᏃᎩᏛ ᎾᏍᎩᎾᎢ ᏧᏓᎴᏅᏓ ᎦᏟᏌᏅ ᎠᎾᏓᏅᏖᏍᎬ. ᎢᎦᏛ ᏓᎾᏛᏁᎵᏍᎬ ᎢᎦᏪᏍᏗ ᎤᎾᏤᎵ ᎤᎾᏒᎾᏍᏗᏱ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ. ᎢᏯᏛᏁᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎤᎵᎮᎵᏍᏗ ᎠᎵᏂᎬᏁᏗᎢ ᎾᏍᎩᎾᎢ ᎠᎴᏂᏍᎩ ᎠᎴ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ, ᎠᎴ ᎾᏍᎩ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎠᏍᏆᏛᎯ ᎾᏍᎩᎾᎢ ᎯᎠ ᎤᎵᏍᏕᎸᏙᏗ ᎤᎾᏛᏓᏍᏗ, ᎦᎪ ᎨᏒᎢ deriving ᎢᎦᏛ ᎠᏒᎾᏍᏗᏱ, ᎠᎾᏓᏟᏏᏍᎬ, ᏧᏁᎸᏗᏯ, ᎠᎴ ᎬᏂᎨᏒ ᎢᎬᏁᏗ ᏧᎬᏩᎶᏗ ᏂᏛᎴᏅᏓ ᎯᎠ ᎾᎾᏛᏁᎲ. ᎢᎦᏛ ᎯᎠ motivation ᎾᏍᎩᎾᎢ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎨᏒᎢ Ꮎ ᎤᏅᏌ ᏗᎫᎪᏔᏅ ᎤᎾᏤᎵ ᎤᎷᏤᎯ ᏂᏛᎴᏅᏓ ᎠᏃᏢᏍᎬ ᏗᎧᏃᎩᏛ. ᎾᏍᎩ ᏂᎨᏒᎾ ᎾᏍᎩ ᎤᏩᏒ ᎨᏒᎢ ᎾᏍᎩ ᎤᎷᏤᎯ derived motivation, ᏗᎧᏃᎩᏛ ᎤᎭ ᏗᏙᎳᎩ ᎢᎦᏛ ᎥᎴᏂᏙᎲ ᏥᏄᏍᏗ ᎠᏔᎴᏒ ᎠᎹᏱ ᏥᏄᏍᏗ ᎤᎾᏙᏢᎯ. ᎠᎵᏍᎪᎸᏙᏗ ᏌᏊ ᎾᏍᏋ motivated ᏗᎬᏩᎶᏒ ᎣᏩᏒ ᎢᎦᏛ motivations ᏥᏄᏍᏗ ᎠᏔᎴᏒ ᎠᎹᏱ, ᏥᏄᏍᏗ ᎧᏁᎬᎢ ᎡᎪᎢ "ᎾᏍᎩᎾᎢ ᎯᎠ ᎬᎨᏳᎢ ᏗᎧᏃᎩᏛ." ᏥᏄᏍᏗ ᎠᏔᎴᏒ ᎠᎹᏱ, ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏄᏛᏁᎸ ᎭᏫᎾᏗᏢ ᎯᎠ ᏄᏍᏗᏓᏅ practicing, ᏥᏄᏍᏗ ᎦᎶᎯᏍᏗ ᎠᏙᎷᏩᏘᏍᎬ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏏᎾᏒᎢ.

[edit] ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᎠᎴ ᏂᎦᏛ

ᎤᎪᏗᏗ ᎥᎦᏔᎲᎢ ᎠᏠᏯᏍᏛ ᎤᎳᏂᎩᏓ ᎧᏃᎮᎸᎯ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᎠᎴ soloistic ᎾᎾᏛᏁᎲ, ᏯᏛᎿ ᏥᏄᏍᏗ ᎭᏫᎾᏗᏢ ᎠᏴᏫᏯ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ, ᎠᎴ ᎭᏫᎾᏗᏢ ᎯᎠ ᏭᏕᎵᎬᏗᏢ ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎧᏃᎮᎸᎯ. ᏐᎢ ᎥᎦᏔᎲᎢ, ᏯᏛᎿ ᏥᏄᏍᏗ ᎭᏫᎾᏗᏢ Bali, ᎠᏠᏯᏍᏛ ᎤᎳᏂᎩᏓ ᎧᏃᎮᎸᎯ ᎤᎾᏓᏟᏌᎲ ᎾᎾᏛᏁᎲ. ᏂᎦᏛ ᎥᎦᏔᎲᎢ ᎠᏠᏯᏍᏛ ᏧᏠᎯᏍᏗ ᎢᏧᎳ, ᎠᎴ ᎾᎾᏛᏁᎲ ᎠᎾᏍᎬᏘ ᎠᏍᏓᏅᏅ ᏂᏛᎴᏅᏓ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᏓᎾᏁᎶᎲᏍᎬ ᎾᏍᎩᎾᎢ ᏌᏊ ᎤᏤᎵ ᎠᎵᎮᎵᏥᏓᏍᏗ ᎦᎸᎳᏗᎨᏍᏗ ᎠᏟᎶᏍᏙᏗ ᎠᎴ ᎤᎾᏙᏢᏅᎯ ᎾᎾᏛᏁᎲ ᎬᏂᎨᏒ ᎢᎬᏁᏗ ᏯᏛᎿ ᏥᏄᏍᏗ ᎯᎠ ᎪᎯᏊ ᎢᏴ ᏥᎩ ᎠᏓᏙᎵᏍᏗ ᏓᏂᏃᎩᏍᏗᏍᎬ ᎠᎴ ᏧᏁᎸᏗᏯ ᎠᎯᎸᏍᏗ.

ᎤᏂᏴᏍᏗ ᏗᎧᏃᎩᏛ, ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᏗᎧᏃᎩᏛ ᎾᏍᎩᎾᎢ ᎤᏍᏗ ᏂᎦᏛ ᎬᏙᏗ Ꮭ ᎤᏟ ᎢᎦᎢ ᎬᎾᏬᏍᎬ ᏌᏊ ᎠᏂᏏᏴᏫᎭ ᏗᎦᎪᏗ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ, ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎠᎪᎲᎢ ᏥᏄᏍᏗ ᎤᏟ ᎢᎦᎢ ᎧᏁᎢᏍᏙᏗ ᎬᎾᏬᏍᎬ symphonic ᏧᏂᎸᏫᏍᏓᏁᏗ. ᏗᏂᏃᎩᏍᏗᏍᎩ ᎨᏒᎢ ᎤᏯᏅᎲ ᏗᎧᏃᎩᏛ ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎠᎴ ᎤᏅᏌ ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏂᎦᏛ ᏯᏛᎿ ᏥᏄᏍᏗ ᏅᏯ ᏗᏂᏤᎷᎯᏍᎩ ᎠᎴ ᎾᏛᏁᎸ ᏗᏂᏃᎩᏍᏗᏍᎩ.

[edit] ᎧᏁᏨᎯ ᎧᏃᎮᎸᎯ ᎠᎴ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ

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ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ
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ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ

ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᏄᎾᏰᎯᏍᏛᎾ ᎭᏫᎾᏗᏢ ᎠᏅᏓᏗᏍᏗ ᎠᎴ ᎾᎾᏛᏁᎲ ᎾᏍᎩ ᎤᏩᏒ, ᏭᏓᏁᎸᎩ ᎡᎳᏗ ᎠᎵᏣᏙᏗ, ᎠᎴ aurally ("ᎾᎥᎢ ᎦᎴᏂ"). ᎯᎳᎪ ᎢᏳ ᎯᎠ ᎠᏟᎶᏍᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ Ꮭ ᎦᏅᎯᏓᎨ ᎤᎾᏅᏛ, ᎪᎯ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎢᏳᏓᎵᎭ classified ᏥᏄᏍᏗ "ᎧᏃᎮᎸᎯ". ᏄᏓᎴᎿᎥ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎧᏃᎮᎸᎯ ᎤᎭ ᏄᏓᎴᎿᎥ ᏄᏍᏛ ᎣᏓᏅᏛ ᏫᏂᏚᏳᎪᏛ ᎯᎳᎪ ᎠᎴ ᎭᏢᏃ ᎪᏢᏗ ᏗᎦᏁᏟᏴᏍᏗ ᎯᎠ ᎠᎴᏅᏗᏍᎬ ᏗᏓᎴᎲᏍᎬ ᏭᏚᎸᏛ ᎬᏙᏗ, ᏂᏛᎴᏅᏓ ᎾᎥᏂᎨᏍᏙᏗ ᎠᏓᏅᏖᎯᏌᏛ, ᎾᏍᎩ ᎦᏙ ᎤᏍᏗ ᎠᏔᏲᏍᏗ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᎠᎴ ᏧᏓᎴᎿᎢ ᎯᎠ ᏗᎧᏃᎩᏛ. ᎭᏫᎾᏗᏢ ᎯᎠ Gambia, ᏭᏕᎵᎬ Africa, ᎯᎠ ᎧᏃᎮᏍᎩ ᎯᎠ ᏙᏱᏗᏢ ᎦᏚᎲ ᎨᏒᎢ ᎤᎶᏒᎩ ᎠᎵᏣᏙᏗ ᏗᎬᏩᎶᏒ ᎧᏃᎩᏍᏗ.

ᎯᎳᎪ ᎢᏳ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎪᏪᎳᏅᎯ ᎡᎳᏗ, ᎾᏍᎩ ᎨᏒᎢ ᏂᎦᎥᏊ notated ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ Ꮎ ᎾᎿᎢ ᎠᎴ ᏗᎾᏓᏕᏲᎲᏍᎦ ᎾᏍᎩ ᎠᏂᏰᎸᏍᎬ ᎦᏙ ᎤᏍᏗ ᎢᏳᏗᎾ ᎾᏍᏋ ᎤᎾᏛᎦᏅ ᎾᎥᎢ ᎠᏛᎩᏍᎬ, ᎠᎴ ᎦᏙ ᎤᏍᏗ ᎯᎠ ᏗᎧᏃᎩᏛ ᎢᏳᏗᎾ ᎿᏛᎦ ᎢᏯᏛᏁᏗ ᎯᎠ ᏗᎧᏃᎩᏛ. ᎪᎯ ᎨᏒᎢ ᏩᏎᎸᎯ ᏥᏄᏍᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ, ᎠᎴ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎯᎳᎪ ᎥᎪᎵᏰᏍᎬ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎠᏓᏠᏯᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, nvwatohiyadv, ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎾᎾᏛᏁᎲ ᎠᎵᏏᎾᎯᏍᏙᏗ, ᎠᎴ ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᏕᎦᎸᏛ ᎧᏁᏌᎢ ᎪᎵᏍᏗᏱ ᎧᏃᎮᏍᎩ ᏄᎵᏍᏔᏅ ᎾᎾᏛᏁᎲ ᎢᏗᎬᎾᏗ.

ᎪᏪᎳᏅᎯ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ varies ᎬᏙᏗ ᎠᏣᏅᏗ ᎠᎴ ᎠᎴᏫᏍᏙᏗ ᏗᎧᏃᎩᏛ. ᎭᏫᎾᏗᏢ ᏭᏕᎵᎬᏗᏢ ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ, ᎯᎠ ᎤᎪᏗᏗ ᏧᏣᏔᏊ ᎢᏗᎦᎪᏘ ᎪᏪᎳᏅᎯ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎠᎴ ᎤᏂᎪᏗᏗ, ᎦᏙ ᎤᏍᏗ ᎠᏠᏯᏍᏛ ᏂᎦᏛ ᎯᎠ ᏗᎧᏃᎩᏛ ᎢᎦᏛᎭ ᏂᎦᏛ ᎠᎬᎭᎸᏓ, ᎠᎴ ᎢᎦᏛᎭ, ᎦᏙ ᎤᏍᏗ ᎠᎴ ᎯᎠ ᏗᎧᏃᎩᏛ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎾᏍᎩᎾᎢ ᎯᎠ ᎠᏂᏏᏴᏫᎭ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ. ᎭᏫᎾᏗᏢ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ, jazz, ᎠᎴ ᎧᏂᎬᎾᎥ, ᎯᎠ ᏰᎵᏊ ᏗᏙᎳᎩ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎨᏒᎢ ᎯᎠ ᎦᏂ ᏗᎬᎯᏓ, ᎦᏙ ᎤᏍᏗ notates ᎯᎠ ᎠᏟᎶᏍᏗ, ᎠᏟᎶᏍᏗ, ᏗᎧᏃᎩᏛ (ᎢᏳᏃ ᎾᏍᎩ ᎨᏒᎢ ᎠᎰᎵ ᎤᏃᏴᎬ ᎠᎬᎭᎸᏓ), ᎠᎴ ᎠᏛᎯᏍᏙᏗ ᎯᎠ ᏗᎧᏃᎩᏛ. Nonetheless, ᎤᏂᎪᏗᏗ ᎠᎴ ᎢᎦᏛᎭ ᎠᎴ ᎾᏍᎩ ᎾᏍᏇ ᎬᏔᏅᎯ ᎭᏫᎾᏗᏢ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ ᎠᎴ jazz, ᎾᏍᎩᎾ ᎨᏒ ᎭᏫᎾᏗᏢ ᎡᏆ ᏂᎦᏛ ᏯᏛᎿ ᏥᏄᏍᏗ jazz "ᎡᏆ ᎦᏚ ᎠᏄᏬᏍᏗ."

ᎭᏫᎾᏗᏢ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ, guitarists ᎠᎴ ᎠᎾᎦᎵᏍᎩ ᎤᏔᏅ ᎧᏃᎩᏍᏗ ᏗᎾᏁᎶᎲᏍᎩ ᎢᏳᏓᎵᎭ ᎥᎪᎵᏰᏍᎬ ᏗᎧᏃᎩᏛ notated ᎭᏫᎾᏗᏢ tablature, ᎦᏙ ᎤᏍᏗ ᎠᎾᏓᏎᎮ ᎯᎠ ᎦᎷᎯᏍᏗ ᎯᎠ ᏓᏓᏚᎬ ᎪᏪᎵ ᎾᏍᏋ ᏚᎾᏁᎶᏅ ᎾᎿ ᎯᎠ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ ᎬᏗᏍᎬᎢ ᎠᏓᏕᏲᎲᏍᎩ ᎪᏪᎸ ᎯᎠ ᏗᎧᏃᎩᏍᏗ ᎠᎴ ᎤᏔᏅ ᎧᏃᎩᏍᏗ fingerboard. Tabulature ᏥᏄᏍᏛᎩ ᎾᏍᎩ ᎾᏍᏇ ᎬᏔᏅᎯ ᎭᏫᎾᏗᏢ ᎯᎠ ᏄᏬᏢᏛᎾ ᏗᏓᎴᏂᏍᎬ notate ᏗᎧᏃᎩᏛ ᎾᏍᎩᎾᎢ ᎯᎠ ᏕᎬᏔᏛ, stringed, fretted ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ.

ᏂᎦᎥᏊ ᏗᎧᏃᎩᏛ ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎾᏍᏋ ᏄᏛᏁᎸ ᎨᏒᎢ ᎠᏛᎯᏍᏔᏅ ᏥᏄᏍᏗ ᏗᎬᎯᏓ ᏗᎧᏃᎩᏛ. ᎢᏯᏛᏁᏗ ᏗᎧᏃᎩᏛ ᏂᏛᎴᏅᏓ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎧᏁᎦ ᎢᏯᏛᏁᏗ ᎪᎵᏍᏗᏱ ᎢᏧᎳ ᎯᎠ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏣᏅᏗ ᎠᎴ ᎯᎠ ᎾᎾᏛᏁᎲ ᎠᎵᏏᎾᎯᏍᏙᏗ Ꮎ ᎨᏒᎢ ᎤᎾᎵᎪᏅᎯ ᎬᏙᏗ ᎠᎬᎭᎸᏓ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᏂᎶᏁᏍᎬ. ᎯᎠ ᏄᏍᏗᏓᏅᎢ ᎠᏠᏯᏍᏔᏅ ᎦᏛᎬᎢ ᎭᏫᎾᏗᏢ ᎯᎠ ᏗᎧᏃᎩᏛ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ varies ᎠᏰᎵ ᎠᏂᎶᏁᏍᎬ ᎠᎴ ᎧᏃᎮᏍᎩ ᏄᎵᏍᏔᏅ ᏗᎴᏪᎢᏍᏙᏗ. ᎭᏫᎾᏗᏢ ᏂᎦᎥ, ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᏂᏛᎴᏅᏓ ᎯᎠ 17th ᏗᎬᏩᎶᏒ ᎯᎠ 19th sqohitsuqui tsudetiyvdi ᎧᏁᏨ ᎢᏯᏛᏁᏗ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎤᎭ ᎡᏆ ᏗᏓᏅᏓᏁᏗᏱ contextual ᎥᎦᏔᎲᎢ ᎬᏩᏚᏫᏛ ᎢᏯᏛᏁᏗ ᏧᎾᏣᏅᏙᏗ.

ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᎭᏫᎾᏗᏢ ᎯᎠ 17th ᎠᎴ 18th sqohitsuqui tsudetiyvdi, ᏗᎧᏃᎩᏛ notated ᎾᏍᎩᎾᎢ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎤᏓᏎᎮᎸ ᏄᏦᏍᏛᎾ, ᏄᏦᏍᏛᎾ ᎪᎵᏍᏗ ᎠᏟᎶᏍᏗ. ᏱᏂᎬᏛᎾ, ᎾᏍᎩ ᏥᏄᏍᏛᎩ utugi uwasv Ꮎ ᏗᏂᏃᎩᏍᏗᏍᎩ ᏯᏓᎢᏗᏏ ᎣᎾᏛ ᎯᎳᎪ ᎦᏟᏐᏗ stylistically-ᏗᏙᎳᎩ ᎠᏣᏅᏙ ᏯᏛᎿ ᏥᏄᏍᏗ ᎤᏪᏴ ᎠᎴ ᎠᎦᏔᎲᎠ.

ᎭᏫᎾᏗᏢ ᎯᎠ 19th sqohitsuqui tsudetiyvdi, ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎾᏍᎩᎾᎢ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎾᏍᎬᏘ ᎠᏓᏁᏗ ᏂᎦᎥ ᏗᏓᏕᏲᎲᏍᎩ ᏯᏛᎿ ᏥᏄᏍᏗ ᎢᏯᏛᏁᏗ ᎯᎠ ᏗᎧᏃᎩᏛ ᎦᏛᎬᎢ, ᏄᏠᏯᏍᏛᎾ ᏄᏍᏛ ᎠᏂᏃᎮᏍᎬ ᎭᏫᎾᏗᏢ ᏄᏍᏗᏓᏅᎢ ᎯᎳᎪ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎢᏳᏗᎾ ᎿᏛᎦ ᎪᎯ. ᎾᏍᎩ ᏥᏄᏍᏛᎩ utugi uwasv Ꮎ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᏯᏓᎢᏗᏏ ᎣᎾᏛ ᎯᎳᎪ ᎬᏙᏗ tempo ᏗᎦᏁᏟᏴᏍᏗ, ᎧᏁᎬ ᎤᏲᏴᎬ, ᎠᎴ ᎠᎴᏫᏍᏙᏗ (ᏄᎾᏛᏅ ᏐᎢ ᏄᏍᏛ ᏗᎧᏃᏗ) ᎣᏤᎵ ᎢᎬᏁᎯ ᎪᎯ "ᎦᏛᎬᎢ" ᎾᎾᏛᏁᎲ ᎠᏣᏅᏗ.

ᎭᏫᎾᏗᏢ ᎯᎠ 20th sqohitsuqui tsudetiyvdi, ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎢᏳᏓᎵᎭ ᎠᏓᏁᏟᏴᏍᏗ ᎤᏟ ᎢᎦᎢ ᎦᏛᎬᎢ, ᎠᎴ ᎬᏔᏅᎯ ᎠᏍᏓᏅᏅ ᏓᏃᏪᎵᏍᎬ ᎠᎴ ᏩᏎᏍᏗ ᎾᎿ ᎠᏓᏎᎮᏗ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎯᎳᎪ ᎤᏅᏌ ᎢᏳᏗᎾ ᏗᏁᎶᏗ ᎠᎴ ᎧᏃᎩᏍᏗ ᎯᎠ ᎠᎬᎭᎸᏓ. ᎭᏫᎾᏗᏢ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ ᎠᎴ jazz, ᏗᎧᏃᎩᏛ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ ᎾᎥᏂᎨᏍᏗ ᏂᎪᎯᎸᎢ ᎠᎾᏓᏎᎮ ᎾᏍᎩ ᎤᏩᏒ ᎯᎠ ᏄᏦᏍᏛᎾ ᎠᎵᏍᏕᎸᏗ ᎯᎠ ᎠᏟᎶᏍᏗ, nvwatohiyadv, ᎠᎴ ᎾᎾᏛᏁᎲ ᎤᎾᏄᎪᎢᏍᏗ; ᏗᎧᏃᎩᏛ ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎴ utugi uwasv ᎣᎾᏛ ᎯᎠ ᎾᎾᏛᏁᎲ ᎤᏓᏂᏝᏅ ᎠᎴ ᏧᎾᏣᏅᏙᏗ ᎤᎾᎵᎪᏅᎯ ᎬᏙᏗ ᏗᎪᏍᎩ ᎠᏂᎶᏁᏍᎬ ᎠᎴ ᏗᎬᎭᎷᏴᎯ.

ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᎯᎠ "ᎦᏂ ᏗᎬᎯᏓ" ᎾᏍᎩᎾᎢ jazz ᎤᏃᏴᎬ ᎠᎾᏍᎬᏘ ᎾᏍᎩ ᎤᏩᏒ ᎠᏓᏎᎮᏗ ᎯᎠ ᎠᏟᎶᏍᏗ ᎠᎴ ᎯᎠ chord ᏗᎦᏁᏟᏴᏍᏗ. ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎭᏫᎾᏗᏢ ᎯᎠ jazz ᏂᎦᏛ ᎠᎴ utugi uwasv ᎣᎾᏛ ᎯᎳᎪ "ᎤᏇᏓᎵ atsinuqowisgv" ᎪᎯ ᏄᏦᏍᏛᎾ ᎠᏛᎯᏍᏙᏗ ᎾᎥᎢ ᎦᏟᏐᏗ ᎠᏣᏅᏙ, ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᏗᎧᏃᎩᏛ, ᎠᎴ chordal ᎦᏟᏐᏗᎩ.

[edit] ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ, ᎪᎷᏩᏛᏗ, ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ

Template:Main ᎤᎪᏗᏗ ᎥᎦᏔᎲᎢ ᎬᏙᏗ ᎾᎾᎢ ᎠᏂᎦᏲᎵ ᎢᎦᏛ ᎯᎠ ᎠᏓᏅᏖᏗ preconceiving ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏭᏚᎸᏛ ᎬᏙᏗ, ᎠᎴ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ, ᏥᏄᏍᏗ ᎠᏰᎲᎩ ᎭᏫᎾᏗᏢ ᏭᏕᎵᎬᏗᏢ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ. ᎢᏧᎳᎭ ᎯᎳᎪ ᎢᏳ ᏗᎧᏃᎩᏛ ᎨᏒᎢ notated ᎧᎵᏬ ᏗᏙᎳᎩ, ᎾᎿᎢ ᎠᎴ ᏙᎢ ᎤᎪᏗᏗ ᏧᏚᎪᏔᏅ Ꮎ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎤᎭ ᎪᏢᏗ. ᎯᎠ ᏧᎵᎬᏩᎳᏅᎯ ᏗᏂᏃᎩᏍᏗᏍᎩ deciding ᎯᎳᎪ ᎢᏯᏛᏁᏗ ᏗᎧᏃᎩᏛ Ꮎ ᎤᎭ ᏭᏪᏙᎢ ᏧᏩᎫᏔᏅᏒ ᎠᏒᎾᏍᏗᏱ ᎠᎴ notated ᎨᏒᎢ termed ᎪᎷᏩᏛᏗ.

ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏂᎶᏁᏍᎬ, ᏯᏛᎿ ᏥᏄᏍᏗ jazz ᎠᎴ ᎧᏂᎬᎾᎥ, ᎢᏧᎳᎭ ᎤᏟ ᎢᎦᎢ tohi adedi ᎨᏒᎢ ᎠᏓᏁᎸ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᏗᏓᏁᏤᏗ ᎭᏫᎾᏗᏢ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᎾᎿ ᏄᏦᏍᏛᎾ melodic, harmonic, ᎠᎴ rhythmic ᎠᎵᏍᏕᎸᏗ. ᎯᎠ ᏭᏔᏅ ᎤᏜᏅᏛ ᎨᏒᎢ ᎠᏓᏁᎸ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎭᏫᎾᏗᏢ ᎠᏣᏅᏗ ᎢᏯᏛᏁᏗ ᎤᏯᏅᎲ ᎠᏎᏊᎢ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ, ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᏭᏚᎸᏛ ᎬᏙᏗ Ꮎ ᎨᏒᎢ ᎠᎦᎵᏯ "ᏁᎵᏒ " (ᏁᎵᏒᎢ) ᎾᎯᏳᎢ ᎠᎴᏂᏙᎲ ᏄᏛᏁᎸ, ᎾᏍᎩ ᏂᎨᏒᎾ preconceived. ᎧᎵ ᏗᏙᎳᎩ ᎯᎠ ᏗᎫᎪᏙᏗ ᎢᎬᏁᏗ Georgiana Costescu, ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᏗᎧᏃᎩᏛ ᎤᏠᏱᎭ ᎠᏍᏓᏩᏕᎦ stylistic ᎠᎴ ᎠᏂᎶᏁᏍᎬ ᎤᏓᏂᏝᏅ ᎠᎴ ᎢᏧᎳᎭ "ᎠᏂᎧᎵ ᎠᏒᎾᏍᏗᏱ" ᎠᏠᏯᏍᏗ ᎢᎦᏛ ᏄᏚᏓᎸᎾ ᎠᏑᏰᏛ ᏭᏚᎸᏛ ᎬᏙᏗ (ᎠᎪᏩᏛᏗ precompositional). ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎾᏛᏁ ᎾᏍᎩ ᏂᎨᏒᎾ ᏂᎪᎯᎸᎢ ᎤᏁᎫᏥᏛ ᎯᎠ ᎬᏙᏗ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ, ᎠᎴ ᎯᎠ ᎤᎾᏅᏛ ᎠᎳᏑᎶ ᎦᎵᏍᏜᎥ ᎠᏛᎯᏍᏙᏗ ᏌᏊ ᎠᏂᏏᏴᏫᎭ.

ᏗᎧᏃᎩᏛ ᏰᎵᏇ ᎾᏍᎩ ᎾᏍᏇ ᎾᏍᏋ ᏕᎫᎪᏔᏅ ᎾᎥᎢ ᏄᏍᏛ ᎠᏂᏃᎮᏍᎬ "ᏧᎵᎬᏩᎳᏅᎯ" ᎦᏙ ᎤᏍᏗ ᎠᎾᏍᎬᏘ ᎪᏢᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏚᏃᏴᎬ, ᏱᏓᏟᎶᏍᏔᏅ ᎪᎯ ᎠᏍᏓᏅᏅ ᏂᏛᎴᏅᏓ ᎦᏃᎸᎥᏍᎬ ᏗᏍᏆᎸᏙᏗ, ᏗᎬᏩᎶᏒ ᎡᎵᏍ ᎢᏗᏛᏁᏗ ᎦᏙ ᎤᏍᏗ ᎠᏑᏰᏍᏗ ᏚᏃᏴᎬ. ᏗᎧᏃᎩᏛ ᎦᏙ ᎤᏍᏗ ᎢᎦᎢ ᎨᏐ ᎢᏧᏓᎴᎩ ᎠᏑᏰᏛ ᎾᎥᎢ ᎤᏝᏅᏓᏕᎲ ᎨᏒᎢ ᎤᏯᏅᎲ Aleatoric ᏗᎧᏃᎩᏛ, ᎠᎴ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎤᎾᎵᎪᏅᎯ ᎬᏙᏗ ᎦᎳᏅᎯ ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ ᎠᎴ Witold Lutosławski.

[edit] ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ

ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎨᏒᎢ ᎠᎴᏂᏍᎬ Ꮎ ᏄᏍᏛ ᎧᏃᎮᏗ ᎯᎠ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎠᎬᎭᎸᏓ ᏗᎧᏃᎩᏛ. ᎢᏗᎬᎾᏗ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᏧᏓᎴᎾᎯ ᏂᎬᎢ, ᏱᏂᎬᏛᎾ ᎭᏫᎾᏗᏢ analyzing ᏗᎧᏃᎩᏛ ᏂᎦᏛ ᏚᏙᏢᏒ -- ᎠᎦᎵᏯ, ᎠᎨᏲᏅᎯ, ᎠᎴ ᎾᏍᏋ -- ᎠᎴ ᎤᏁᏍᎨᎲ ᏂᏛᎴᏅᏓ ᎢᏧᏓᎴᎩ comprising ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᎬᎭᎸᏓ. ᏗᎧᏃᎩᏛ ᏰᎵᏇ ᎾᏍᏋ ᎠᏒᎾᏍᏗᏱ ᎾᏍᎩᎾᎢ ᏄᏩᎫᏔᏅ ᎾᎾᏛᏁᎲ ᎠᎴ ᎾᏍᎩ ᏰᎵᏇ ᎾᏍᏋ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ; ᎠᏒᎾᏍᏗᏱ ᎾᎿ ᎯᎠ ᎤᏓᏓᎸ. ᎯᎠ ᏗᎧᏃᎩᏛ ᏰᎵᏇ ᎾᏍᏋ ᏄᏛᏁᎸ ᏰᎵ ᏂᎦᏛ ᏂᏛᎴᏅᏓ ᎠᏅᏓᏗᏍᏗ, ᏂᏛᎴᏅᏓ ᎪᏪᎳᏅᎯ iyahdvnelidasdi ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏅᏓᏗᏍᏙᏗ ᎪᏪᎶᏗ, ᎠᎴ ᎢᎦᏛ ᎤᎾᏓᏟᏌᏅ ᎢᏧᎳ. ᎠᎦᏎᏍᏙᏗ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎤᎭ ᎧᏃᎮᎸᎯ ᏭᏪᏙᎢ dominated ᎾᎥᎢ ᎠᏥᎪᎵᏰᏗ ᎢᏗᎬᎾᏗ ᎠᎴ ᎠᎵᏏᎾᎯᏍᏙᏗ ᏭᏕᎵᎬᏗᏢ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ, ᎠᎴ ᎯᎠ ᏩᏎᏍᏗ ᎾᎿ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎨᏒᎢ ᎠᏯᏖᎾ ᏰᎵᏊ ᎠᏠᏯᏍᏛ ᎠᎦᎵᏯ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎾᏍᎩᏯᎢ ᎾᏍᎩ ᎠᏎᏊᎢ jazz ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎴ African ᎠᏓᎾᏅᏗ ᎦᎾᏕᎩ.

ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎤᎵᏍᎨᏛ ᎭᏫᎾᏗᏢ ᎪᎵᏍᏗᏱ ᎯᎠ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ ᎠᎬᎭᎸᏓ ᎨᏒᎢ singling atsinuqowisgv Ꮝ ᎢᏧᏓᎴᎩ. ᎪᎵᏍᏗᏱ ᏗᎧᏃᎩᏛ ᎤᏤᎵ ᎢᎬᏱ ᎦᏰᎯ ᎢᏧᏓᎴᎩ ᏰᎵᏇ ᎾᏍᏋ ᎠᎵᏍᏕᎵᏍᎩ ᎭᏫᎾᏗᏢ ᏩᏎᏍᏗ ᎾᎿ ᎧᎵ ᏗᏙᎳᎩ ᎯᎳᎪ ᎠᎬᎭᎸᏓ ᎨᏒᎢ ᎠᏁᏍᎨᏓ. ᎢᎬᏩᎾᏓᎴᎩ ᏑᏓᎴᎩ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎯᎳᎪ ᏚᏃᏴᎬ ᏄᎵᏍᏔᏅ ᎭᏫᎾᏗᏢ iyuwakodi, ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᏩᏎᎸᎯ ᏥᏄᏍᏗ ᎯᎠ ᏗᏍᏆᎸᏙᏗ ᎠᎬᎭᎸᏓ ᏗᎧᏃᎩᏛ.

ᎯᎳᎪ ᎢᏳ ᎠᎬᎭᎸᏓ ᎦᎾᏄᎪᎦ ᎤᎭ ᎦᏁᏟᏴᏍᎬ iyuwakodi-ᎠᏒᎾᏍᏗ, ᎾᏍᎩ ᎨᏒᎢ ᎠᎦᏎᏍᏔᏅ ᎾᏍᏋ ᎭᏫᎾᏗᏢ rubato iyuwakodi, Italian ᎢᎦᏪᏛ Ꮎ ᎠᎾᏓᏎᎮ Ꮎ ᎯᎠ tempo ᎯᎠ ᎠᎬᎭᎸᏓ ᏗᎦᏁᏟᏴᏍᏗ ᎦᏚ ᏗᏄᏬ ᎯᎠ ᎦᏛᎬᎢ ᎢᏰᎵᏍᏗ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ. ᎢᏧᎳᎭ ᎤᏍᏆᏂᎪᏗ placement ᎤᏍᏆᏂᎪᏗ ᏚᏃᏴᎬ, ᎦᏙ ᎤᏍᏗ ᏄᎵᏍᏔᏅ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ montage, ᏄᎵᏍᏔᏅ ᎭᏫᏂᏗᏢ ᎢᎦᏛ ᎤᏓᏅᏗ iyuwakodi, ᎠᎴ ᎯᎠ ᎢᏴ ᎠᏓᎾᏢᏗ iyuwakodi ᏥᏄᏍᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏑᏓᎴᎩ.

[edit] ᏛᏓᏓᏂᎸᎬ ᎠᎴ ᎠᏛᎩᏍᎬ

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ᏓᏂᏃᎩᏍᏗᏍᎬ ᎭᏫᎾᏗᏢ ᎯᎠ Mozarteum, Salzburg
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ᏓᏂᏃᎩᏍᏗᏍᎬ ᎭᏫᎾᏗᏢ ᎯᎠ Mozarteum, Salzburg

ᎯᎠ ᏠᎨᏏ ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ ᎠᏓᏠᏯᏍᏙᏗ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎤᎪᏗᏗ ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎠᏠᏯᏍᏗᏍᎩ ᎯᎳᎪ ᎾᏍᎩ ᎨᏒᎢ processed ᎾᎥᎢ ᎠᏛᎩᏍᎬ.

ᏗᎧᏃᎩᏛ ᎨᏒᎢ ugatohvsvi ᎾᎥᎢ ᏗᏂᏏᏴᏫᎭ ᎭᏫᎾᏗᏢ ᎠᏍᏓᏅᏅ ᎠᎾᏓᏟᏏᏍᎬ ᏗᏫᏍᏗ ᎤᏃᏴᎬ ᏂᏛᎴᏅᏓ ᎠᎴᏂᏙᎲ ᎤᏩᏒ ᎠᏁᏙᎲ ᎡᏆ ᏓᏂᏃᎩᏍᏗᏍᎬ. ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎾᎾᏛᏁᎲ ᎠᎩᏍᏗ ᏄᏓᎴᎿᎥ ᏚᏙᏢᏒ ᎭᏫᎾᏗᏢ ᏄᏓᎴᎿᎥ ᎥᎦᏔᎲᎢ ᎠᎴ socioeconomic ᎠᏰᎵ. ᎭᏫᎾᏗᏢ Europe ᎠᎴ ᎤᏴᏢ ᎠᎺᎵᎨ, ᎾᎿᎢ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎠᏯᏔᏍᏗ ᎠᏰᎵ ᎦᏙ ᎤᏍᏗ ᎢᏗᎦᎪᏘ ᏗᎧᏃᎩᏛ ᎠᎴ viewed ᏥᏄᏍᏗ "ᎦᎸᎳᏗ ᎥᎦᏔᎲᎢ" ᎠᎴ "ᎡᎳᏗ ᎥᎦᏔᎲᎢ." "ᎦᎸᎳᏗ ᎥᎦᏔᎲᎢ" ᎢᏗᎦᎪᏘ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᏠᏯᏍᏛ ᏭᏕᎵᎬᏗᏢ ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᏯᏛᎿ ᏥᏄᏍᏗ ᏄᏬᏢᏛᎾ, ᎠᏓᏙᎵᏍᏗ, ᎢᏰᎵᏍᏗᎢ, ᎠᎴ ᎪᎯᏊ ᎢᏴ ᏥᎩ-ᏗᏓᎴᏂᏍᎬ symphonies, ᏗᎧᏃᎩᏛ, ᎠᎴ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᏧᏂᎸᏫᏍᏓᏁᏗ, ᎠᎴ ᎠᎴ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎤᎾᏛᎦᏅ ᎭᏫᎾᏗᏢ ᎢᎬᏱ ᎦᏰᎯ ᏓᏂᏃᎩᏍᏗᏍᎬ ᎭᏫᎾᏗᏢ ᏓᏂᏃᎩᏍᏗᏍᎬ ᎦᎳᏅᏛ ᎠᎴ ᏧᏂᎳᏫᏍᏗ, ᎬᏙᏗ ᎯᎠ ᎤᎾᏛᏓᏍᏗ ᎠᏂᏅᎢ iyatoquu ᎭᏫᎾᏗᏢ ᏗᎦᏗ.

ᎾᎿ ᎯᎠ ᏐᎢ ᎤᏬᏰᏂ, ᏐᎢ ᎢᏗᎦᎪᏘ ᏗᎧᏃᎩᏛ ᏯᏛᎿ ᏥᏄᏍᏗ jazz, ᎧᏂᎬᎾᎥ, ᎦᎸᏉᏗ ᎠᏓᏅᏙ, ᎠᎴ ᏙᏱᏗᏢ ᎦᏚᎲ ᎠᎴ ᎢᏳᏓᎵᎭ ᏄᏛᏁᎸ ᎭᏫᎾᏗᏢ ᎧᏃᎯᏯᏍᏗ, nightclubs, ᎠᎴ theatres, ᎭᏢᏃ ᎯᎠ ᎤᎾᏛᏓᏍᏗ ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᏰᎵᏆ ᎢᏯᏛᏁᏗ ᎠᏗᏔᏍᏗ, ᎠᎳᏍᎩᏓ, ᎠᎴ ᎢᎦᏪᏍᏗ ᎤᏅᏌ ᎾᎥᎢ ᎠᎦᎵᏯ. iyuwakodi ᎯᎠ ᎣᏂᏯᎨᏍᏙᏗ 20th sqohitsuqui tsudetiyvdi, ᎯᎠ ᎠᏰᏗ ᎢᏳᏓᏛ ᎠᏰᎵ "ᎦᎸᎳᏗ" ᎠᎴ "ᎡᎳᏗ" ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏚᏙᏢᏒ ᏥᏄᏍᏛᎩ ᏂᎬᎢ accepted ᏥᏄᏍᏗ ᎪᏢᏒᎢ ᎤᎾᏤᎵᏛ Ꮎ separated atsinuqowisgv ᎤᏟ ᎢᏲᏍᏛ ᎢᎦ ᎣᏏ, ᎤᏟ ᎢᎦᎢ ᎠᏓᏌᎳᏙᏗ "ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ" ᏂᏛᎴᏅᏓ ᎯᎠ ᎤᏂᎸᏉᏗ ᏧᎾᏣᏅᏙᏗ ᏗᎧᏃᎩᏛ ᎤᎾᏛᎦᏅ ᎭᏫᎾᏗᏢ ᎧᏃᎯᏯᏍᏗ ᎠᎴ ᎠᎳᏍᎩᏓ ᎦᎳᏅᏛ.

ᏱᏂᎬᏛᎾ, ᎭᏫᎾᏗᏢ ᎯᎠ 1980s ᎠᎴ 1990s, musicologists ᏚᎾᎦᏎᏍᏛ ᎪᎯ perceived ᎠᏯᏔᏍᏗ ᎠᏰᎵ "ᎦᎸᎳᏗ" ᎠᎴ "ᎡᎳᏗ" ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏂᎶᏁᏍᎬ argued Ꮎ ᎪᎯ ᎤᎾᏤᎵᏛ ᎨᏒᎢ ᎾᏍᎩ ᏂᎨᏒᎾ ᏚᎳᏏᏔᏅᎩ ᎾᎿ ᎯᎠ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏧᎬᏩᎶᏗ ᎠᎴ ᎢᎦ ᎣᏏ ᎯᎠ ᏄᏓᎴᎿᎥ ᎢᏗᎦᎪᏘ ᏗᎧᏃᎩᏛ. ᎤᏟ ᎬᏰᎸᏗ, ᎤᏅᏌ argued Ꮎ ᎪᎯ ᎤᎾᏤᎵᏛ ᏥᏄᏍᏛᎩ ᏚᎳᏏᏔᏅᎩ ᎡᏆᏯ ᎾᎿ ᎯᎠ socioeconomic ᎠᏂᏙᎾᎥ ᎠᎴ ᎠᎾᏓᏟᏏᏍᎬ ᎢᏧᎳᎭ ᏗᏂᏱᎴᎩ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎴ ᎤᎾᏛᏓᏍᏗ ᎯᎠ ᏄᏓᎴᎿᎥ ᎢᏗᎦᎪᏘ ᏗᎧᏃᎩᏛ.

ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᎠᎦᏎᏍᏙᏗ ᎯᎠ ᎤᎾᏛᏓᏍᏗ ᎾᏍᎩᎾᎢ ᎠᏓᏙᎵᏍᏗ ᎾᏛᏁᎸ ᏓᏂᏃᎩᏍᏗᏍᎬ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎤᎭ ᎦᎸᎳᏗᏢ-ᎢᎦᏘᎭ ᎢᎬᏁᎸ ᎤᎷᏤᎯ, ᎯᎠ ᎤᎾᏛᏓᏍᏗ ᎾᏍᎩᎾᎢ ᎠᎧᏍᎨᏂ-ᎠᏓᎾᏫᏗᏍᎬ ᏓᏂᏃᎩᏍᏗᏍᎬ ᎭᏫᎾᏗᏢ ᎭᏫᎾᏗᏢ-ᎦᏚᎲᎢ ᎡᏍᎦᏂ ᎠᎾᏍᎬᏘ ᎤᎭ ᎡᎳᏗᏢ-ᎢᎦᏘᎭ ᎢᎬᏁᎸ ᎤᎷᏤᎯ. ᎢᏧᎳᎭ ᎤᏁᎳᎩ ᎾᏍᎩ ᎾᏍᏊ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎤᎾᏛᏓᏍᏗ, ᎠᎴ ᎠᏰᎵ ᎭᏢᏃ ᎬᏙᏗ-"ᏗᏟᎶᏍᏙᏗ" ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏄᏛᏁᎸ ᎠᎾᏍᎬᏘ ᎤᎭ ᎡᎳᏗᎨ socioeconomic ᏄᏍᏗᏓᏅ, ᎯᎠ ᏗᎧᏃᎩᏛ Ꮎ ᎨᏒᎢ ᏄᏛᏁᎸ, ᏯᏛᎿ ᏥᏄᏍᏗ ᎧᏂᎬᎾᎥ, ᎠᎧᏍᎨᏂ-ᎠᏓᎾᏫᏗᏍᎬ, ᏔᏩᎵ, ᎤᎾᏰᎯᏍᏗ, ᎠᎴ ska ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᎤᏙᎯᏳ ᏂᎦᏛ ᎠᎴ ᎦᎶᏄᎮᏛ.

ᏧᎵᎡᎾ ᏴᏫ ᏰᎵᏇ ugatohvsv ᏗᎧᏃᎩᏛ ᎾᎥᎢ ᎠᏒᎾᏍᏗᏱ ᎯᎠ ᏧᏩᏚᏃᎯ ᎭᏫᎾᏗᏢ ᎤᎾᏤᎵ ᎠᏰᎸ, ᏧᎵᎬᏩᎳᏅᎯ ᎦᏙ ᎤᏍᏗ ᏰᎵᏇ ᎾᏍᏋ enhanced ᎢᏳᏃ ᎯᎠ ᎠᏂᏏᏴᏫᎭ ᏗᏂᏂᏴ ᎤᏃᏴᎬ, ᎤᏒᏙᏂ ᏗᎦᏘᎴᏍᏗ. ᎠᏔᎴᏒ ᎠᎹᏱ-ᎤᎾᏅᏛ ᏧᎵᎡᎾ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎯᎠ ᎠᏟᎶᏍᏗ Ludwig ᎠᏓᎴᏂᏍᎬ Beethoven, ᎦᎪ ᎠᏒᎾᏍᏗᏱ ᎤᎪᏗᏗ ᏗᎦᏃᏣᎵ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎢᏧᎳᎭ ᎤᎶᏐᏅ ᎾᏍᎩ ᎠᏍᎦᏯ ᎠᏰᎲ ᎠᎧᎵᏬᎯ ᎤᎴᎾᎯᏛ ᎤᏤᎵ ᎠᏛᎩᏍᎬ. ᎾᏞᎬ ᏱᏓᏟᎶᏍᏔᏅ ᏧᎵᎡᎾ ᏗᎧᏃᎩᏛ ᎠᏠᏯᏍᏛ Evelyn Glennie, ᎦᎸᎳᏗᎨᏍᏗ acclaimed percussionist ᎦᎪ ᎤᎭ ᏭᏪᏙᎢ ᏧᎵᎡᎾ ᎣᏂ ᏧᏩᎫᏛ ᎯᎠ lyudetiyvda ᏔᎵᏚ, ᎠᎴ Chris ᏧᎧᏅᏍᏕᎾ ᎠᏫ, ᏄᏍᏛ ᎠᎩᏍᏗ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎦᎪ ᎤᎭ ᎤᎴᎾᎯᏛ ᎤᏤᎵ ᎠᏛᎩᏍᎬ.

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[edit] Media ᎠᎴ ᎠᏏᎾᏒᎢ

ᎯᎠ ᏗᎧᏃᎩᏛ Ꮎ ᎠᏟᎶᏍᏗ ᎪᏢᏗ ᏰᎵᏇ ᎾᏍᏋ ᎤᎾᏛᎦᏅ ᏗᎬᏩᎶᏒ ᎯᎸᏍᎩ media; ᎯᎠ ᎤᎪᏗᏗ ᎧᏃᎮᎸᎯ ᎦᎶᎯᏍᏗ ᎨᏒᎢ ᎠᏛᎩ ᎾᏍᎩ ᎠᎴᏂᏓᏍᏗ, ᎭᏫᎾᏗᏢ ᎯᎠ ᎡᏙᎲᎩ, ᎠᎴ ᏥᏄᏍᏗ ᏌᏊ , ᎯᎠ ᏗᎧᏃᎩᏛ. ᎠᎴᏂᏓᏍᏗ ᏗᎧᏃᎩᏛ ᏰᎵᏇ ᎾᏍᎩ ᎾᏍᏇ ᎾᏍᏋ ᎠᏗᎦᎴᏯᏍᏗ ᎦᏬᎯᎸᏙᏗ ᎯᎠ ᎦᏬᏂᏍᎩ, television ᎠᎴ ᎯᎠ ᎧᎾᏁᏍ. ᎢᎦᏛ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏧᎾᏣᏅᏙᏗ ᎠᏰᎵ ᎾᎿ ᎠᏛᎯᏍᏗᏍᎬ ᎤᏃᏴᎬ ᎾᏍᎩᎾᎢ ᎾᎾᏛᏁᎲ, ᎾᎯᏳᎢ ᎠᏂᏐᎢ ᎠᏰᎵ ᎾᎿ ᎠᏛᎯᏍᏗᏍᎬ ᏗᏟᎶᏍᏔᏅ ᎦᏙ ᎤᏍᏗ mixes ᎢᏧᎳ ᏚᏃᏴᎬ ᎦᏙ ᎤᏍᏗ ᎨᏒᎩ ᎥᏝ ᏚᎾᏁᎶᏅ "ᎠᎴᏂᏓᏍᏗ". ᏗᏟᎶᏍᏔᏅ, ᎢᏧᎳᎭ ᏧᎾᏣᏅᏙᏗ ᎦᏙ ᎤᏍᏗ ᎠᎴ ᎠᏏᏴᏫ ᎠᎴᏂᏓᏍᏗ, ᎢᏳᏓᎵᎭ ᎬᏔᏂᏓᏍᏗ ᎯᎠ ᏅᏏᎾᏒ ᏗᎦᎴᏴᏍᏗ ᎠᎴ ᏧᏠᎯᏍᏗ ᎠᏛᎯᏍᏙᏗ ᏗᏟᎶᏍᏔᏅ ᎦᏙ ᎤᏍᏗ ᎠᎴ ᎠᎦᏎᏍᏔᏅ "ᎤᏟ ᎢᏲᏍᏛ" ᎬᎾᏬᏍᎬ ᎯᎠ ᎤᏙᎯᏳᏒ ᎾᎾᏛᏁᎲ.

ᎣᏂ ᏧᏩᎫᏛ ᏗᎧᏃᏩᏛᏍᏗ ᏓᏃᏢᏍᎬ ᎬᏂᎨᏒ ᏄᏩᏁᎸ ᎠᎵᏍᏕᎸᏗ ᎠᏓᏍᏕᎸᏗ ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎠᏟᎶᏍᏗ, ᏗᎦᎴᏴᏗᏍᎩ ᎠᎴ ᏂᎬᏂᏏᏍᎬ, ᎠᏠᏯᏍᏗᏍᎩ ᎯᎠ ᎣᏪᏅᏒ ᏗᏟᎶᏍᏔᏅ ᎢᏯᏛᏁᎯ 1992 ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏫᏒᏗ ᎧᏃᎮᎭ, ᎠᎴ ᎯᎠ 1979 ᏅᎬᎪᏔᏅ Berne ᎤᏓᏂᏝᏅ ᎾᏍᎩᎾᎢ ᎯᎠ ᎠᎵᏍᏕᎸᏙᏗ ᎠᎦᏔᎯ ᎪᏪᎵ ᎠᎴ ᏗᏟᎶᏍᏗᏍᎩ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏫᏒᏗ ᎠᏰᎵ ᎤᎾᏙᏢᏒ, ᏗᏟᎶᏍᏔᏅ ᎠᎴ ᎠᎴᏂᏓᏍᏗ ᎾᎾᏛᏁᎲ ᎤᎭ ᎾᏍᎩ ᎾᏍᏇ ᏗᏙᎳᎩ ᎤᏟ ᎢᎦᎢ accesible ᏗᎬᏩᎶᏒ ᎡᎵᏍ, ᏄᏍᏛ ᏗᎧᏃᏗ ᎠᎴ ᎧᎾᏁᏍ ᎭᏫᎾᏗᏢ ᎤᏙᏢᏒ Ꮎ ᎨᏒᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎤᎾᏅᏛ ᏥᏄᏍᏗ ᏗᎧᏃᎩᏛ-ᎾᎿ-ᎠᏔᏲᏍᏗ.

ᎭᏫᎾᏗᏢ ᎤᎪᏗᏗ ᎥᎦᏔᎲᎢ, ᎾᎿᎢ ᎨᏒᎢ ᎦᏲᎵᎨ ᎤᎾᏤᎵᏛ ᎠᏰᎵ ᎢᏯᏛᏁᏗ ᎠᎴ ᏍᎨ ᏗᎧᏃᎩᏛ, ᏥᏄᏍᏗ ᎠᎧᎵᏏᏐᏗ ᏂᎦᏛ ᎨᏒᎢ ᎤᏠᏯᏍᏔᏅ ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᏗᏑᏰᏍᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᎵᏂᎬᏁᏗᎢ, ᎢᏳᏓᎵᎭ communal. ᎭᏫᎾᏗᏢ industrialized ᎠᏰᎵ ᏚᎾᏙᏢᏩᏗᏒ, ᏍᎨ ᏗᎧᏃᎩᏛ ᏗᎬᏩᎶᏒ ᎪᏪᎳᏅᎯ ᎤᏙᏢᏒ, ᏯᏛᎿ ᏥᏄᏍᏗ ᎤᏃᏴᎬ ᏗᏟᎶᏍᏔᏅ ᎠᎴ ᎠᎦᎦᏎᏍᏗ ᏗᎧᏃᎩᏛ video, ᎠᏓᏁᏟᏴᏍᏗ ᎤᏟ ᎢᎦᎢ ᏧᏣᏔᏊ ᎬᎾᏬᏍᎬ experiencing ᎠᎴᏂᏓᏍᏗ ᎾᎾᏛᏁᎲ, ᎾᎥᏂᎨᏍᏙᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏰᎵ ᎯᎠ 20th sqohitsuqui tsudetiyvdi.

ᏱᏓᏟᎶᏍᏔᏅ, ᎠᎴᏂᏓᏍᏗ ᎾᎾᏛᏁᎲᎠᏙᏢᏗ prerecorded ᏚᏃᏴᎬ. ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, DJ ᎬᏔᏂᏓᏍᏗ ᏙᏯᏗᏢ ᎪᏪᎸ ᎾᏍᎩᎾᎢ ᏗᏜᎪᏍᏗ, ᎠᎴ ᎢᎦᏛ 20th-sqohitsuqui tsudetiyvdi ᏧᏂᎸᏫᏍᏓᏁᏗ ᎤᎭ ᎠᏏᏴᏫ ᎧᏃᎩᏍᎩ ᎾᏍᎩᎾᎢ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ ᎠᎴ ᎧᏁᎬ ᎤᏲᏴᎬ Ꮎ ᎨᏒᎢ ᏄᏛᏁᎸ ᎨᎳᏛᏍᏗ ᎬᏙᏗ ᏗᎧᏃᎩᏛ Ꮎ ᎨᏒᎢ prerecorded onto ᎠᏍᏓᏅᏅ. ᎡᎵᏍ ᎠᎴ ᎤᎪᏗᏗ keyboards ᏰᎵᏇ ᎾᏍᏋ programmed ᎠᏛᎯᏍᏙᏗ ᎠᎴ ᏗᏁᎶᏗ MIDI ᏗᎧᏃᎩᏛ. ᎤᎾᏛᏓᏍᏗ ᏰᎵᏇ ᎾᏍᎩ ᎾᏍᏇ ᏗᏙᎳᎩ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎾᎥᎢ ᎬᏗᏍᎬᎢ Karaoke, ᎦᎾᎬᎢ ᎾᎥᎢ ᎯᎠ Japanese, ᎦᏙ ᎤᏍᏗ ᎬᏔᏂᏓᏍᏗ ᏗᎧᏃᎩᏛ video ᎠᎴ ᎤᏔᏏᏅᏱ ᏄᏠᏯᏍᏛᎾ ᎧᏁᎬ ᎤᏲᏴᎬ, ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ ᎯᎠ ᏗᏂᏃᎩᏍᏗᏍᎩ ᏰᎵᏇ ᎦᏟᏐᏗ ᎤᎾᏤᎵ ᎧᏁᎬ ᎤᏲᏴᎬ ᎯᎠ ᎠᎬᎭᎸᏓ.

[edit] ᎥᎦᏔᎲᎢ

ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᎥᎦᏔᎲᎢ ᎠᎴ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏂᎶᏁᏍᎬ ᎪᏪᎶᏗ, ᎢᏯᏛᏁᏗ, ᎠᎴ ᎢᏰᎵᏍᏗᎢ ᏗᎧᏃᎩᏛ ᎬᏙᏗ Ꮭ ᎢᎬᏱ ᎦᏰᎯ ᎠᎨᏲᎲᏍᎬ. ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏂᎶᏁᏍᎬ ᎭᏢᏃ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎠᎴ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎣᏩᏒ-ᏚᏕᏲᏅᎩ ᎠᎴ ᎭᏢᏃ ᎤᏅᏌ ᎠᏕᎶᏆᏍᏗ ᏗᎬᏩᎶᏒ ᎠᏓᏃᎯᏎᎯ ᏗᏕᏲᎲᏍᎩ ᎠᎴ ᏗᏁᏝᎾ ᎦᏁᏟᏴᏍᏗ ᎠᏠᏯᏍᏛ ᎧᏂᎬᎾᎥ, ᏔᏩᎵ, ᎠᎴ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ ᎠᏂᎶᏁᏍᎬ ᏯᏛᎿ ᏥᏄᏍᏗ ᏅᏯ ᎠᎴ ᎠᎧᏁᏍᏗ.

ᏕᏕᎶᏆᏍᎩ ᏗᏕᎶᏆᏍᏗ ᎢᎦᎢ ᎢᏗᎦᏘ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ, ᎠᏠᏯᏍᏗᏍᎩ ᎯᎠ ᎠᏍᎦᏯ ᎤᏓasgaya udal nigesvna ᏗᎧᏃᎩᏛ, ᎯᎠ ᎠᏍᎦᏯ ᎤᏓasgaya udal nigesvna ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ, ᎠᎴ ᎯᎠ ᎠᏍᎦᏯ ᎤᏓasgaya udal nigesvna ᏗᎾᏟᎶᏍᏗᏍᎩ ᎬᏙᏗ ᎠᏂᏯᏩᏍᎩ ᏄᎬᏫᏳᏒ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᎩᏍᏗ ᏦᎢ ᎯᏍᎩ ᏧᏕᏘᏴᏓ ᎧᎵᏬᎯ. ᎾᏍᎩ ᎯᎠ ᎢᎦᎢ ᎢᏗᎦᏘ ᎠᏓᏁᎳᏁᏗ ᏙᎾᏕ ᎶᏆᏍᎩ ᎬᏙᏗ ᎦᏙᎯ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ ᎠᎴ ᏗᎧᏃᎩᏛ ᎧᏃᎮᏍᎩ, ᎠᎴ ᎤᎪᏗᏗ ᏙᎾᏕ ᎶᏆᏍᎩ ᎾᏍᎩ ᎾᏍᏇ ᎠᎦᏎᏍᏙᏗ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ ᎠᎴ ᎠᏕᎶᏆᏍᏗ ᏓᏂᏃᎩᏍᎬ technique ᏥᏄᏍᏗ ᎢᎦᏛ ᎤᎾᏤᎵ ᎢᏯᏛᏁᏗ.

ᏓᏍᏆᏗ ᎪᏪᎵ ᏕᏕᎶᏆᏍᎩ ᏗᎧᏃᎩᏛ ᎢᏗᏛᏁᏗ ᏰᎵᏇ ᎠᎾᎩᏍᏗ ᎾᎿ ᎤᏗᏗᏢ ᎠᎦᏎᏍᏙᏗ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᏗᏍᏆᏗᏍᏗ ᎪᏪᎵ ᎢᏗᏛᏁᏗ. ᏗᏍᏆᏗᏍᏗ ᎪᏪᎵ ᎢᎦᎢ ᎢᏗᎦᏘ ᎠᏠᏯᏍᏛ ᎯᎠ ᏄᎬᏫᏳᏌᏕᎩ ᏗᎧᏃᎩᏛ, ᎯᎠ ᏄᎬᏫᏳᏌᏕᎩ ᏗᎾᏟᎶᏍᏗᏍᎩ, ᎯᎠ PhD, ᎠᎴ ᎤᏟ ᎢᎦᎢ ᏝᏱᎪᎯᎩ, ᎯᎠ ᎦᎾᎦᏘ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏗᎾᏟᎶᏍᏗᏍᎩ, ᎠᎴ DMA. ᎯᎠ ᏄᎬᏫᏳᏌᏕᎩ ᏗᎧᏃᎩᏛ ᎢᎦᎢ ᎢᎦᏘ, ᎦᏙ ᎤᏍᏗ ᎠᎩᏍᎪᎢ ᏌᏊ ᏔᎵ ᏧᏕᏘᏴᏓ ᎧᎵᏬᎯ, ᎨᏒᎢ ᎢᏯᏛᏁᎵᏓᏍᏗ awarded ᏙᎾᏕ ᎶᏆᏍᎩ ᏚᎾᎦᏎᏍᏛ ᎯᎠ ᎾᎾᏛᏁᎲ ᎪᎱᏍᏗ ᎬᏔᏂᏓᏍᏗ ᎠᎴ ᎧᏁᎬ ᎤᏲᏴᎬ ᎠᎴ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ. ᎯᎠ ᏄᎬᏫᏳᏌᏕᎩ ᏗᎾᏟᎶᏍᏗᏍᎩ ᎢᎦᎢ ᎢᎦᏘ, ᎦᏙ ᎤᏍᏗ ᎠᎩᏍᎪᎢ ᏌᏊ ᏔᎵ ᏧᏕᏘᏴᏓ ᎧᎵᏬᎯ ᎠᎴ ᎢᏳᏓᎵᎭ ᎧᏁᎦ ᎢᏯᏛᏁᏗ ᏧᏓᎴᎾᎢ, ᎨᏒᎢ ᎢᏯᏛᏁᎵᏓᏍᏗ awarded ᏙᎾᏕ ᎶᏆᏍᎩ ᏚᎾᎦᏎᏍᏛ musicology, ᏗᎧᏃᎩᏛ ᎧᏃᎮᏍᎩ, ᎠᎴ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ.

ᎯᎠ PhD, ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎧᏁᏨ ᎢᏯᏛᏁᏗ ᎾᏍᎩᎾᎢ ᏙᎾᏕ ᎶᏆᏍᎩ ᎦᎪ ᎠᏚᎳᏗ ᏗᎦᎸᏫᏍᏓᏁᏗ ᏥᏄᏍᏗ ᏗᏕᎶᏆᏍᏗ ᏗᏕᎶᏆᏍᎩ ᎭᏫᎾᏗᏢ musicology, ᏗᎧᏃᎩᏛ ᎧᏃᎮᏍᎩ, ᎠᎴ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, ᎠᎩᏍᎪᎢ ᏦᎢ ᎯᏍᎩ ᏧᏕᏘᏴᏓ ᎠᎦᏎᏍᏙᏗ ᎤᎶᏐᏅ ᎯᎠ ᏄᎬᏫᏳᏌᏕᎩ ᎤᏤᎵ ᎢᎦᎢ ᎢᎦᏘ, ᎾᎯᏳᎨᏒ ᎦᏙ ᎤᏍᏗ iyuwakodi ᎯᎠ ᏕᏕᎶᏆᏍᎩ ᏫᎵ ᎧᎵᏬᎯ ᎠᏓᏌᎳᏙᏗ ᏫᏂᏚᏳᎪᏛ ᎠᎴ ᎠᏁᎸᏙᏗ ᏅᎠᏯᏍᏗ ᎾᏍᎩᎾᎢ ᎧᏃᎮᏍᎩ. ᎯᎠ ᎦᎾᎦᏘ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏗᎾᏟᎶᏍᏗᏍᎩ, ᎠᎴ DMA ᎨᏒᎢ ᏗᎦᏃᏢᎩ ᎢᏤ ᎢᎦᎢ ᎢᎦᏘ Ꮎ ᏥᏄᏍᏛᎩ ᎪᏢᏅᎯ ᎠᏓᏁᎳᏁᏗ ᎪᎯᏳᏙ ᎾᏍᎩᎾᎢ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᏂᏃᎩᏍᏗᏍᎩ ᎠᎴ ᎠᏟᎶᏍᏗ Ꮎ ᎠᏚᎳᏗ ᏗᎦᎸᏫᏍᏓᏁᏗ ᏥᏄᏍᏗ ᏗᏕᎶᏆᏍᏗ ᏗᏕᎶᏆᏍᎩ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎾᎾᏛᏁᎲ ᎠᎴ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ. ᎯᎠ DMA ᎠᎩᏍᎪᎢ ᏦᎢ ᎯᏍᎩ ᏧᏕᏘᏴᏓ ᎤᎶᏐᏅ ᏄᎬᏫᏳᏌᏕᎩ ᎤᏤᎵ ᎢᎦᎢ ᎢᎦᏘ, ᎠᎴ ᎠᏠᏯᏍᏗ ᎠᏓᏌᎳᏙᏗ ᏫᏂᏚᏳᎪᏛ, ᎠᏎᎸᎯ, ᎠᎴ ᎾᎾᏛᏁᎲ.

[edit] ᏗᎧᏃᎩᏛ ᏥᏄᏍᏗ ᎢᎦᏛ ᏂᎦᎥ ᎥᎦᏔᎲᎢ

Template:Main ᎯᎠ ᎤᎾᏓᏟᏌᏅ ᏗᎧᏃᎩᏛ ᎠᎨᏲᎲᏍᎬ ᏂᏛᎴᏅᏓ preschool postsecondary ᎥᎦᏔᎲᎢ ᎨᏒᎢ ᏧᏣᏔᏊ ᎭᏫᎾᏗᏢ ᎤᏴᏢ ᎠᎺᎵᎨ ᎠᎴ Europe, ᎢᎬᏂᏏᏍᎩ ᎤᏠᏯᏍᏔᏅ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏁᎵᏒ ᏕᏕᏲᏗ ᏄᏦᏍᏛᎾ ᎠᏏᎾᏒᎢ ᏯᏛᎿ ᏥᏄᏍᏗ ᎤᏓᏂᏝᏅ, ᏛᏎᎯᎯ, ᏍᎨ, ᎠᎴ ᎠᎵᎪᏒ ᎾᎯᏳᎢ ᎾᏍᎩ ᎾᏍᏇ promoting ᎪᎵᏍᏗᏱ ᎦᏬᏂᎯᏍᏗ, ᎪᏢᎯᏏᏍᎬ ᎯᎠ ᏅᏏᎾᏒ ᏅᎠᏥᏯᏃᏗ ᎠᏓᏃᎯᏎᏗ, ᎠᎴ creating ᏄᏍᏗᏓᏅ ᎤᏟ ᎢᎦᎢ conductive ᎠᎾᏕᎶᏆᏍᎬ ᎭᏫᎾᏗᏢ ᏐᎢ ᎡᏍᎦᏂ. [4] ᎭᏫᎾᏗᏢ ᏑᏓᎴᎩ ᏂᏓᏳᏓᎴᏅ ᏧᎾᏕᎶᏆᏍᏗ, ᏗᏂᏲᎵ ᎢᏳᏓᎵᎭ ᎠᏕᎶᏆᏍᏗ ᏗᏁᎶᏗ ᎪᎱᏍᏗ ᏗᎬᏔᏂᏓᏍᏗ ᏯᏛᎿ ᏥᏄᏍᏗ ᎯᎠ ᎪᏪᎵᏍᎩ, ᎧᏃᎩᏍᏗ ᎭᏫᎾᏗᏢ ᎤᏍᏗ ᏗᏂᏃᎩᏍᎩ, ᎠᎴ ᎠᏕᎶᏆᏍᏗ ᎬᏩᏚᏫᏛ ᎯᎠ ᎧᏃᎮᏍᎩ ᏭᏕᎵᎬᏗᏢ ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ. ᎭᏫᎾᏗᏢ ᎠᏂᎦᏲᎵ ᏧᎾᏕᎶᏆᏍᏗ ᏙᎾᏕ ᎶᏆᏍᎩ ᎠᎾᏍᎬᏘ ᎤᎭ ᎯᎠ ᎠᏓᏜᏅᏓᏕᎲ ᎢᏯᏛᏁᏗ ᎢᎦᏛ ᏗᎦᎪᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏂᎦᏛ, ᏯᏛᎿ ᏥᏄᏍᏗ ᏗᏂᏃᎩᏍᎩ, ᎠᎾᏱᎵᏒ ᎦᏚ ᎠᏄᏬᏍᏗ, jazz ᎦᏚ ᎠᏄᏬᏍᏗ, ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎠᎴ ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᏗᏕᎶᏆᏍᏗ iyahdvnelidasdi, ᏗᎧᏃᎩᏛ ᏚᎾᎵᎪᏒ ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᏰᎵ ᎠᏩᏛᏗ.

ᎾᎾᎢ ᎯᎠ ᏗᏕᎶᏆᏍᏗ ᎤᏩᎾᏕᏍᎩ, ᏙᎾᏕ ᎶᏆᏍᎩ ᎭᏫᎾᏗᏢ ᎤᎪᏗᏗ ᏗᎾᏟᎶᏍᏗᏍᎩ ᎠᎴ ᎦᏬᏂᎯᏍᏗ ᎢᏗᏛᏁᏗ ᏰᎵᏇ ᎠᎩᏍᏗ adatudi ᎾᏍᎩᎾᎢ ᎠᎩᏍᎬᎢ ᏗᎧᏃᎩᏛ ᏫᏂᏚᏳᎪᏛ, ᎦᏙ ᎤᏍᏗ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᎩᏍᏗ ᎯᎠ ᎤᏙᏢᏒ overview ᏫᏚᏳᎪᏛ ᎾᎿ ᎯᎠ ᎧᏃᎮᏍᎩ ᏗᎧᏃᎩᏛ, ᎠᎴ ᏗᎧᏃᎩᏛ ᎠᏓᎵᎮᎵᏤᏗᏱ ᏫᏚᏳᎪᏛ Ꮎ focuses ᎾᎿ ᏍᎨ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᎾᏕᎶᏆᏍᎬ ᎬᏩᏚᏫᏛ ᏄᏓᎴᎿᎥ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏧᎾᏣᏅᏙᏗ. ᎭᏫᎾᏗᏢ ᎦᏟᏐᏗᎩ, ᎤᎪᏗᏗ ᎤᏴᏢ ᏴᏩᏁᎬ ᎠᎴ European universities ᎤᎭ ᎢᎦᏛ ᏗᎦᎪᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏂᎦᏛ Ꮎ ᎬᏙᏗ-ᏗᎧᏃᎩᏛ ᏙᎾᏕ ᎶᏆᏍᎩ ᎠᎴ ᏰᎵᏆ ᎢᏯᏛᏁᏗ ᎨᎳᏗᏓᏍᏗ ᎭᏫᎾᏗᏢ, ᏯᏛᎿ ᏥᏄᏍᏗ ᏗᏂᏃᎩᏍᎩ, ᎠᎾᏱᎵᏒ ᎦᏚ ᎠᏄᏬᏍᏗ, ᎠᎴ ᏗᏂᏃᎩᏍᏗᏍᎩ.

ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᏭᏕᎵᎬᏗᏢ ᏗᏟᎶᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ kanquotsegi ᏧᏣᏔᏊ ᏙᏯᏗᏢ ᎤᏴᏢ ᎠᎺᎵᎨ ᎠᎴ Europe, ᏯᏛᎿ ᏥᏄᏍᏗ STSI ᎭᏫᎾᏗᏢ Bali, ᎠᎴ ᎯᎠ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ ᎢᏗᏛᏁᏗ Ꮎ ᎠᎴ ᏰᎵ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ Asian ᎠᏰᎵ ᏚᎾᏙᏢᏩᏗᏒ ᏯᏛᎿ ᏥᏄᏍᏗ ᎤᎦᎾᏭ Korea, ᎠᏰᎵ, ᎠᎴ ᎠᎦᎾᏫᏗᏍᎩ. ᎾᎾᎢ ᎯᎠ ᎤᏠᏱ iyuwakodi, ᏭᏕᎵᎬᏗᏢ universities ᎠᎴ ᏗᎦᎸᎳᏗᏴ ᏧᎾᏕᎶᏆᏍᏗ ᎠᎴ ᎤᏚᏃᎯᏍᏔᏍᎧ ᎤᎾᏤᎵ ᏓᏕᏲᎲᏍᎬ ᎠᏠᏯᏍᏛ ᏗᎧᏃᎩᏛ ᎬᏙᏗ-ᏭᏕᎵᎬᏗᏢ ᎥᎦᏔᎲᎢ, ᏯᏛᎿ ᏥᏄᏍᏗ ᎯᎠ ᏗᎧᏃᎩᏛ Africa ᎠᎴ Bali (e.g. Gamelan ᏗᎧᏃᎩᏛ).

ᎢᏧᎳ ᎠᎴᏂᏍᎩ ᎠᎴ ᎢᏳᏍᏗ ᎢᏯᏛᏁᎯ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᎩᏍᏗ ᏗᎧᏃᎩᏛ ᎤᎾᏕᎶᏆᏍᏗ, ᏍᏆᎳᎢ ᎤᏤᎵᏓ ᏧᎾᏓᏱᎵᏓᏍᏗ ᎬᏙᏗ ᎠᏂᏏᏴᏫᎭ ᏗᏕᏲᎲᏍᎩ. ᎠᎴᏂᏍᎩ ᏗᎧᏃᎩᏛ ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᎩᏍᏗ ᎤᎾᏕᎶᏆᏍᏗ ᎠᏕᎶᏆᏍᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏓᎴᏂᏍᎬ ᎠᎴ ᏕᏕᎶᏆᏍᎩ- ᎤᏁᎫᏥᏛ-ᎤᏩᎾᏕᏍᎩ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ techniques.

[edit] ᎠᎦᏎᏍᏙᏗ

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ᎤᎪᏗᏗ ᏴᏫ ᎾᏍᎩ ᎾᏍᏇ ᎠᎦᏎᏍᏙᏗ ᎬᏩᏚᏫᏛ ᏗᎧᏃᎩᏛ ᎭᏫᎾᏗᏢ ᎯᎠ ᏠᎨᏏ musicology. ᎯᎠ ᎢᎬᏱᏗᏢᏍᏗ ᏩᏎᏍᏗ ᎾᎿ musicology ᎧᏁᎢᏍᏔᏅᎯ ᏦᎢ ᎠᏂᎦᏲᎵ-ᏓᏕᏲᎲᏍᎬ: ᎠᏓᏅᏍᏗ musicology, ᎧᏃᎮᏍᎩ ᏄᎵᏍᏔᏅ musicology, ᎠᎴ ᎢᎦᎢ ᎢᎦᏘ musicology. ᎭᏫᎾᏗᏢ ᎠᎵᎪᏁᏗ ᏛᏕᎶᏆᏍᎬ, ᏌᏊ ᎨᏒᎢ ᎤᏟ ᎢᎦᎢ ᏄᏓᎷᎸᎾ ᏗᏠᎯᏍᏗ ᎠᏰᏗ ᎢᏳᏓᏛ ᎯᎠ ᏓᏕᏲᎲᏍᎬ ᎾᎾᎯ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, ᏗᎧᏃᎩᏛ ᎧᏃᎮᏍᎩ, ᎠᎴ ethnomusicology. ᏅᎠᏯᏍᏗ ᎭᏫᎾᏗᏢ musicology ᎤᎭ ᎢᏳᏓᎵᎭ ᏭᏪᏙᎢ enriched ᎾᎥᎢ ᏓᏓᎿᏩᏍᏛ-disciplinary ᏗᎦᎸᏫᏍᏓᏁᏗ, ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎭᏫᎾᏗᏢ ᎯᎠ ᏠᎨᏏ psychoacoustics. ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎬᏙᏗ-ᏭᏕᎵᎬᏗᏢ ᎥᎦᏔᎲᎢ, ᎠᎴ ᎯᎠ cultural ᎠᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ, ᎨᏒᎢ ᎤᏯᏅᎲ ethnomusicology.

ᎭᏫᎾᏗᏢ lyudetiyvda itsuwakodi, ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ ᏥᏄᏍᏛᎩ ᏌᏊ ᎯᎠ Quadrivium ᎯᎠ ᎦᎵᏉᎩ ᏄᎨᏳᎿᎲᎾ ᏗᎾᏟᎶᏍᏗᏍᎩ ᎠᎴ ᎠᎦᏎᏍᏔᏅ ᏭᎵᏍᎨᏗᏴᎢ ᎦᎸᎳᏗᎨᏍᏙᏗ ᎠᎾᏕᎶᏆᏍᎬ. ᎭᏫᏂᏗᏢ ᎯᎠ ᎢᎦᎢ Quadrivium, ᏗᎧᏃᎩᏛ, ᎠᎴ ᎤᏟ ᎢᎦᎢ ᎧᎵ ᏗᏙᎳᎩ ᎠᏟᎶᏍᏗ, ᏥᏄᏍᏛᎩ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᏎᏍᏗ ᎤᏜᏅᏛ.

Zoomusicology ᎨᏒᎢ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎯᎠ ᏗᎧᏃᎩᏛ ᎬᏙᏗ-ᏴᏫ ᎡᎿᎢ ᎡᎥ, ᎠᎴ ᎯᎠ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎢᎦᏛ ᏚᏃᏴᎬ ᎠᏛᎯᏍᏔᏅ ᎾᎥᎢ ᎬᏙᏗ-ᏴᏫ ᎡᎿᎢ ᎡᎥ. ᏥᏄᏍᏗ George Herzog (1941) ᎤᏓᏛᏛᏅ, "ᎿᏛᎦ ᎡᎿᎢ ᎡᎥ ᎤᎭ ᏗᎧᏃᎩᏛ?" François-Bernard Mâche ᎤᏤᎵ Musique, mythe, ᎤᏁᎳᏅ ᎤᏬᏢᏅ, ou les Dauphins d'Arion (1983), ᎠᎦᏎᏍᏙᏗ "ornitho-musicology" ᎬᏗᏍᎬᎢ technique Ruwet ᎤᏤᎵ ᎦᏬᏂᎯᏍᏗ, musique, poésie (1972) paradigmatic segmentation ᏗᎫᎪᏙᏗ ᎢᎬᏁᏗ, ᏓᎾᏛᏁᎵᏍᎬ Ꮎ birdsongs ᎠᎴ ᎤᎾᏙᏢᏅᎯ ᎧᎵ ᏗᏙᎳᎩ ᎢᏗᎦᏘᎭ-ᏧᎾᏍᏗ ᎤᎵᏍᎪᎵᏴ. ᎭᏫᎾᏗᏢ ᎯᎠ ᏃᎵᏍᎬᎢ Jean-Jacques Nattiez (1990), "ᎭᏫᎾᏗᏢ ᎯᎠ ᎣᏂ ᏗᎫᎪᏙᏗ ᎢᎬᏁᏗ, ᎾᏍᎩ ᎨᏒᎢ ᏴᏫ ᎠᎴᏂᏙᎲ ᎦᎪ ᏗᎫᎪᏙᏗ ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎠᎴ ᎨᏒᎢ ᎾᏍᎩ ᏂᎨᏒᎾ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ, ᎢᏧᎳᎭ ᎯᎳᎪ ᎢᏳ ᎯᎠ ᎤᏃᏴᎬ ᎨᏒᎢ ᎾᏍᎩ ᏂᎨᏒᎾ ᏴᏫ ᎠᏓᎴᏂᏍᎬ. ᎢᏳᏃ ᎢᏧᎳ ᎪᎯᏳᏙᏗ Ꮎ ᎤᏃᏴᎬ ᎨᏒᎢ ᎾᏍᎩ ᏂᎨᏒᎾ ᎤᎾᏙᏢᏅᎯ ᎠᎴ conceptualized (Ꮎ ᎨᏒᎢ, ᎪᏢᏅᎯ ᎤᏙᏢᏒ ᏗᎧᏃᎩᏛ) ᏄᏓᎴ ᏂᎨᏒᎾ ᎾᎥᎢ Ꮝ ᏂᎬᏂᏏᏍᎬ, ᎠᎴ ᎾᎥᎢ ᎯᎠ ᎣᏓᏅᏛ Ꮎ ᎥᏓᏅᏖᏍᎬ ᎾᏍᎩ, ᎾᎯᏳᎢ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᏧᏓᎴᎿᎢ ᏴᏫ."

ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ ᎨᏒᎢ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ, ᏂᎦᎥᏊ ᎭᏫᎾᏗᏢ ᎦᎸᎳᏗᎨᏍᏗ ᎤᏦᏍᏗ ᏂᎬᎿᏅ ᏄᏍᏛᎢ ᏙᏯᏗᏢ ᏐᎢ ᏓᏕᏲᎲᏍᎬ. ᎤᏟ ᎢᎦᎢ ᎠᏯᏖᎾ ᎾᏍᎩ ᏩᏎᎯᎰᎢ ᏂᎦᎵᏍᏗᏍᎬᎫ ᎠᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ, ᎤᏠᏱᎭ ᎪᎱᏍᏗ ᎠᎾᏓᏛᏂ ᎭᏫᎾᏗᏢ ᎢᎦᏛ ᎤᏙᏢᏒ ᎬᏙᏗ compositional ᎤᏂᏃᏝᎩ ᎨᏒ, ᎠᎴ ᎠᎾᏍᎬᏘ ᎠᏠᏯᏍᏛ ᏗᏎᏍᏗ ᎤᎬᏩᎵ, ᎢᏳᏍᏗ ᏯᏛᎿ, ᎠᎴ . ᎦᏙ ᎤᏍᏗ ᎨᏒᎢ ᎤᎪᏗᏗ ᏱᏓᏟᎶᏍᏔᏅ ᏚᏕᏲᏅᎩ ᎭᏫᎾᏗᏢ ᎠᏓᎴᏂᏍᎬ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ ᏚᎾᎵᎪᏒ ᎠᎴ guidelines ᎪᏪᎶᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏣᏅᏗ ᎯᎠ ᏧᏣᏔᏊ ᎠᎵᏏᎾᎯᏍᏙᏗ ᎠᎴᏫᏍᏙᏗ, ᎠᎴ tonal ᏗᎧᏃᎩᏛ. ᎪᎷᏩᏛᏗ, ᎢᏧᎳᎭ Ꮎ ᎦᏙ ᎤᏍᏗ ᏗᎦᏎᏍᏙᏗ ᏗᎧᏃᎩᏛ ᎯᎠ ᏧᏣᏔᏊ ᎠᎵᏏᎾᎯᏍᏙᏗ ᎠᎴᏫᏍᏙᏗ, ᎠᎾᏍᎬᏘ ᎠᎩᏍᏗ ᎤᎪᏗᏗ ᏐᎢ ᏚᏙᏢᏒ. ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏫᏒᏗ ᎪᎷᏩᏛᏗ ᎨᏒᎢ ᎯᎠ ᎠᏔᏲᏍᏙᏗ ᏚᏳᎪᏛ ᎠᏫᏒᏗ ᎪᎷᏩᏛᏗ ᏗᎧᏃᎩᏛ, ᎢᎬᏱ ᎢᎬᎾᏔᏅᎯ atonal ᏗᎧᏃᎩᏛ. ᏁᎵᏒ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, ᏧᏓᎴᎾᎢ ᎬᏙᏗ ᎠᏓᏃᎮᏗ ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ, ᎨᏒᎢ ᎤᏬᎯᏳᏒᎩ ᎯᎠ ᏗᎫᎪᏙᏗ ᎢᎬᏁᏗ ᎠᎴ ᏧᏓᎴᎾᎢ ᏗᎧᏃᎩᏛ ᏭᏚᎸᏛ ᏗᎬᏙᏗ, ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎠᏛᏅᎢᏍᏔᏅ iyahdvnelidasdi, ᏂᎦᎥᏊ ᏥᏄᏍᏗ ᎠᏛᏅᎢᏍᏔᏅ ᎾᏍᎩᎾᎢ ᎪᏪᎳᏅ ᎠᎪᎵᏰᏗ.

[edit] ᎬᏙᏗ ᎭᏫᎾᏗᏢ therapy

Robert Burton ᎤᏬᏪᎳᏅ ᎭᏫᎾᏗᏢ ᎯᎠ 16th sqohitsuqui tsudetiyvdi ᎭᏫᎾᏗᏢ ᎤᏤᎵ lyudetiyvda ᏗᎦᎸᏫᏍᏓᏁᏗ, ᎯᎠ ᎤᏍᏗ ᎤᏦᎠᏎᏗᏍᎩ, Ꮎ ᏗᎧᏃᎩᏛ ᎠᎴ ᎠᎳᏍᎩᏓ ᎨᏒᎩ ᎤᏓᏚᎯᏌᏘ ᎭᏫᎾᏗᏢ ᏓᎾᏓᏁᎲ ᎠᏓᏅᏖᏗᏱ ᎠᏓᏂᎶᎯᏍᏗ, ᎾᏍᎩ ᎨᏒᎢ ᎠᏓᏬᏍᎬ. [5] [6]

[edit] ᏓᏓᏚᎬ ᎪᏪᎵ

  1. Owen, 2000: 6
  2. Johnson, 2002
  3. Harwood, 1976: 522
  4. Woodall ᎠᎴ Ziembroski, 2002
  5. cf. ᎯᎠ ᎤᏍᏗ ᎤᏦᎠᏎᏗᏍᎩ, Robert Burton, subsection 3, ᎾᎿ ᎠᎴ ᎤᎶᏐᏅ ᎠᏍᏓᏅᏅ 3480, "ᏗᎧᏃᎩᏛ ᎠᏅᏬᏗ":

    ᎠᎴ ᎠᏓᏅᏍᏗ ᏂᎦᏛ ᎠᏣᏅᏙ ᎠᎾᎵᏣᏙᎲᏍᎬ ᎭᏫᎾᏗᏢ ᎦᎸᏉᏙᏗ [3481]ᏩᎦᎸᎳᏗᏴ ᏗᎧᏃᎩᏛ, ᎠᏯ ᏫᎵ ᎭᏫᎾᏗᏢ ᎠᏋᏌ ᎠᏆᏤᎵ ᏗᏙᎳᎩ ᎢᏳᏍᏗ ᎧᏃᎮᏗ: ᎾᏍᎩ ᏂᏗᎨᏒᎾ Ꮎ ᎤᎵᎶᎲᏍᎩ ᎤᎳᏂᎬᎬ ᎾᏍᎩ ᎤᎭ ᎦᏌᏙᏯᏍᏗ ᎤᎪᏗᏗ ᏐᎢ ᎥᏳᎩ, ᎾᏍᎩ ᎨᏒᎢ ᎤᏂᎪᏗᏗ ᎠᏅᏬᏗ ᏗᎦᏘᎴᎩ [3482] ᎤᏚᎩ ᏂᎨᏒᎾ ᎠᎴ ᎤᏦᎠᏎᏗᏍᎩ, ᎠᎴ ᏫᎵ ᎠᏱᎴᎦ ᎤᏣᏘᎾ ᎯᎠ ᏨᏍᎩᎾ ᎤᏩᏒᎠᏍᎦᏯ. Canus, Rhodian ᏗᏂᏃᎩᏍᏗᏍᎩ, ᎭᏫᎾᏗᏢ [3483]Philostratus, ᎯᎳᎪ ᎢᏳ Apollonius ᏥᏄᏍᏛᎩ ᎠᏍᏆᏂᎪᎯᏍᏗ ᎣᎾᏛ ᎦᏙ ᎤᏍᏗ ᎾᏍᎩ ᎠᏍᎦᏯ ᏰᎵᏇ ᎿᏛᎦ ᎬᏙᏗ ᎤᏤᎵ ᎦᏅᎾᏩ, ᎤᏃᎮᎴᎢ ᎾᏍᎩ ᎠᏍᎦᏯ, "Ꮎ ᎾᏍᎩ ᎠᏍᎦᏯ ᏯᏓᎢᏗᏏ ᎪᏢᏗ ᎤᏦᎠᏎᏗᏍᎩ ᎠᏍᎦᏯ ᎤᏬᏢᏗ, ᎠᎴ ᎾᏍᎩ ᎠᏍᎦᏯ Ꮎ ᏥᏄᏍᏛᎩ ᎤᏬᏢᏗ ᎤᏣᏘ merrier ᎬᎾᏬᏍᎬ ᎤᏓᎷᎸ, ᎠᏏᎤᎴ ᎡᎱ ᎤᏟ ᎢᎦᎢ enamoured, ᏧᏁᎸᏗᏯ ᎠᏍᎦᏯ ᎤᏟ ᎢᎦᎢ ᏚᏳᎩᏛ ᎠᏍᏓᏩᏕᎩ." Ismenias ᎯᎠ Theban, [3484]Chiron ᎯᎠ ᏓᎦᏘᎴᎬ, ᎨᏒᎢ ᏄᏪᏒᎩ ᎤᎭ cured ᎪᎯ ᎠᎴ ᎤᎪᏗᏗ ᏐᎢ ᎥᏳᎩ ᎾᎥᎢ ᏗᎧᏃᎩᏛ ᎤᏩᏒ: ᏥᏄᏍᏗ ᎾᏊ ᎤᏅᏌ ᎿᏛᎦ ᎾᏍᎩ, saith [3485]Bodine, Ꮎ ᎠᎴ troubled ᎬᏙᏗ ᏒᎯᏰᏱ. Vitus ᎤᏤᎵ ᎠᏰᎵ ᏗᏂᎦᏘᎴᎩ ᎠᎳᏍᎩᏓ. [1]

  6. "Humanities are the Hormones: A Tarantella Comes to Newfoundland. What should we do about it?" ᎾᎥᎢ ᏗᏕᎶᏆᏍᎩ. ᎦᎳᏅᎯ Crellin, MUNMED, newsletter ᎯᎠ ᏗᎾᏕᏲᎲᏍᎩ ᏅᏬᏘ, ᎠᏅᏓᏗᏍᏙᏗ ᏗᏕᎶᏆᏍᏗ gantlai, 1996.

[edit] ᎪᏪᎵ

  • Harwood, Dane (1976). "ᎢᎬᏩᎾᏓᎴᎩ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ: ᎦᎾᏄᎪᏨᎢ ᏂᏛᎴᏅᏓ ᎥᎦᏔᎲᎢ ᎣᏓᏅᏛ", Ethnomusicology 20, Ꮭ. 3:521-33.
  • Johnson, Julian (2002). ᎦᎪ ᎤᏚᎸᏗ ᏄᎾᏛᏅ ᎠᏓᏙᎵᏍᏗ ᏗᎧᏃᎩᏛ?: Cultural ᎠᏑᏰᏛ ᎠᎴ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᏧᎬᏩᎶᏗ. Oxford ᏗᏕᎶᏆᏍᏗ ᏗᏂᎴᏱᏗᏍᎩ. ISBN 0-19-514681-6.
  • Kertz-Welzel, Alexandra. "ᎤᏔᏅ ᏗᎧᏃᎩᏍᏗ ᎤᎵᏍᏓ ᏗᎫᎪᏙᏗ ᎤᏙᎷᏬᏗ Musicianship." Orff-ᎤᏃᏴᎬ ᏂᏓᏳᏨᏓ XXXVII Ꮭ. 1 (2004): 11-14.
  • Kertz-Welzel, Alexandra. "ᎯᎠ ᏓᏂᏃᎩᏍᎬ ᏁᎵᏒ: ᏦᎢ Centuries ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ ᎭᏫᎾᏗᏢ Germany." ᏕᎪᏪᎸ ᎧᏃᎮᏍᎩ ᏄᎵᏍᏔᏅ ᏅᎠᏯᏍᏗ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ XXVI Ꮭ. 1 (2004): 8-27.
  • Kertz-Welzel, Alexandra. "Didaktik ᏗᎧᏃᎩᏛ: ᎠᏓᏥ ᎠᏓᏅᏖᏗ ᎠᎴ Ꮝ ᎤᏠᏱ ᎾᎬᏁᎲ ᏴᏩᏁᎬ ᏗᎧᏃᎩᏛ Pedagogy." ᎠᏰᎵ ᏚᎾᏙᏢᏒ ᏕᎪᏪᎸ ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ (ᎠᎵᏏᎾᎯᏍᏙᏗ) 22 Ꮭ. 3 (2004): 277-286.
  • Kertz-Welzel, Alexandra. "ᏂᎦᎥ ᏗᎧᏃᎩᏛ ᎥᎦᏔᎲᎢ ᎭᏫᎾᏗᏢ Germany ᎪᎯ ᎢᎦ: ᎭᎦᏔ ᎾᎾᎢ ᎯᎳᎪ ᎤᏂᎸᏉᏗ ᏗᎧᏃᎩᏛ ᎨᏒᎢ ᎠᏍᏆᏂᎪᏒᏗ ᏙᎾᏕ ᎶᏆᏍᎩ." ᏂᎦᎥ ᏗᎧᏃᎩᏛ ᎪᎯ ᎢᎦ 18 Ꮭ. 2 (ᎪᎳ 2005): 14-16.
  • Molino, Jean (1975). "ᎥᎦᏔᎲᎢ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎠᏃᏪᎵᏍᎬ sémiologue ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ ᏂᏚᏍᏛᎢ musique", Musique en Jeu, Ꮭ. 17:37-62.
  • Nattiez, Jean-Jacques (1987). ᏗᎧᏃᎩᏛ ᎠᎴ ᏓᏕᏲᎲᏍᎬ: ᏫᏚᏳᎪᏛ ᏄᏍᏛ ᏗᎧᏃᏗ ᏗᎧᏃᎩᏛ (Musicologie générale ᎠᏃᏪᎵᏍᎬ sémiologue, 1987). Translated ᎾᎥᎢ Carolyn Abbate (1990). ISBN 0-691-02714-5.
  • Owen, Harold (2000). ᏗᎧᏃᎩᏛ ᎪᎷᏩᏛᏗ Resource ᎪᏪᎵ. Oxford ᏗᏕᎶᏆᏍᏗ ᏗᏂᎴᏱᏗᏍᎩ. ISBN 0-19-511539-2.
  • Woodall, Laura ᎠᎴ Brenda Ziembroski, (2002). Literacy Through Music.

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