Sentence examples for musical practices from inspiring English sources

Others were attracted to the drumming and ways of improvising that distinguish Arab music from Euro-American musical practices.

Introduces students to many different musical practices, engaging with them through active music-making, in-depth discussion, listening and analysis, and creative composition.

This essay examines Fela's seemingly paradoxical adoption and assimilation of American funk grooves and musical practices in his quest to further Africanize his music, and his transformation from British-trained Nigerian jazz trumpeter to black-nationalist countercultural dissident icon.

Individual essays examine musical behavior as representation, assertion, and sometimes transgression of gender identities; compare men's and women's roles in specific musical practices and their historical evolution; and explore how music and gender relate to such issues as ethnicity, nationality, and religion.

This was an era when musical practices -- to say nothing of religious ideas about how music should be used and in what language the texts should be sung -- were in transition.

But these musics did not disappear, and 21st-century research thus emphasizes documenting current musical practices, repatriating archival materials, and supporting community-based preservation and transmission initiatives.

This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity.

"I also think taking the principles of my work into my musical practice has improved my music hugely.

Shape-note singing, a musical practice and tradition of social singing from music books printed in shape notes.

In order to effectively account for this covariate, participants were split into three groups, consisting of non-musicians, low-practicing musicians, and high-practicing musicians, to determine whether hours of current musical practice had a significant effect.

She is finishing a book on what she calls communities of musical practice, in which groups of people come together around music-making or musical interests, and the kinds of participatory, collaborative learning that can ensue.