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musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. Later, in Rome, ars musica embraced poetry as well as instrument-oriented music. In the European Middle Ages, musica was part of the mathematical quadrivium: arithmetics, geometry, astronomy and musica. The concept of musica was split into three major kinds by the fifth century philosopher, Boethius: musica universalis, musica humana, and musica instrumentalis. Of those, only the last? />Musica universalis or musica mundana referred to the order of the universe, as God had $Dollar$ Counts” title=”Thank For The Support” />
Etymology
The word music comes from the Greek mousikê (tekhnê) by way of the Latin created it in “measure, number and weight”. The proportions of the spheres of the planets and stars (which at the time were still thought to revolve around the earth) were perceived as a form of music, without necessarily implying that any sound would be heard—music refers strictly to the mathematical proportions. From this concept later resulted the romantic idea of a music of the spheres. Musica humana, designated the proportions of the human body. These were thought to reflect the proportions of the Heavens and as such, to be an expression of God’s greatness. To Medieval thinking, all things were connected with each other—a mode of thought that finds its traces today in the occult sciences or esoteric thought—ranging from astrology to believing certain minerals have certain beneficiary effects.
Musica instrumentalis, finally, was the lowliest of the three disciplines and referred to the manifestation of those same mathematical proportions in sound—be it sung or played on instruments. The polyphonic organization of different melodies to sound at the same time was still a relatively new invention then, and it is understandable that the mathematical or physical relationships in frequency that give rise to the musical intervals as we hear them, should be foremost among the preoccupations of Medieval musicians.
[edit] Translations
The languages of many cultures do not include a word for or that would be translated as music. Inuit and most North American Indian languages do not have a general term for music. Among the Aztecs, the ancient Mexican theory of rhetorics, poetry, dance, and instrumental music, used the Nahuatl term In xochitl-in kwikatl to refer a complex mix of music and other poetic verbal and non-verbal elements, and reserve the word Kwikakayotl (or cuicacayotl) only for the sung expressions (Leon-Portilla 2007, 11). In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, Eggon or Jarawa. Many other languages have terms which only partly cover what Europeans mean by the term music (Schafer). The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms (kantun), European and non-Mapuche music (kantun winka), ceremonial songs (öl), and tayil (Robertson 1976, 39).
Some languages in West Africa have no term for music but the speakers do have the concept (Nettl 1989,[citation needed]). Musiqi is the Persian word for the science and art of music, muzik being the sound and performance of music (Sakata 1983,[citation needed]), though some things European influenced listeners would include, such as Quran chanting, are excluded. Actually, there are varying degrees of “musicness”; Quran chanting and Adhan is not considered music, but classical improvised song, classical instrumental metric composition, and popular dance music are.