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In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations ...
Many classical pieces feature different kinds of texture within a short space of time. An example is the Scherzo from Schubert’s piano sonata in B major, D575. The first four bars are monophonic, with both hands performing the same melody an octave apart: Schubert Sonata in B scherzo bars 1–4 Schubert Piano Sonata in B major scherzo bars 1–4
The verses (even-numbered sections) are more linear, and feature passages of varying length that can be cued by the conductor so as to sound all at once or with staggered entrances, with the result being a heterophonic texture. [19] (Boulez defined heterophony as "the superposition on a primary structure of a modified aspect of the same ...
These are known as heterophonic names or heterophones (unlike heterographs, which are written differently but pronounced the same). Excluded are the numerous spellings which fail to make the pronunciation obvious without actually being at odds with convention: for example, the pronunciation / s k ə ˈ n ɛ k t ə d i / [ 1 ] [ 2 ] of ...
Lining out first appears in 17th-century Britain when literacy rates were low and books were expensive. [1] [2] Precenting the line was characterised by a slow, drawn-out heterophonic and often profusely ornamented melody, while a clerk or precentor (song leader) chanted the text line by line before it was sung by the congregation.
This corresponds to the view that gamelan music is heterophonic: the balungan is then the melody which is being elaborated. "An abstraction of the inner melody felt by musicians," [4] the balungan is, "the part most frequently notated by Javanese musicians, and the only one likely to be used in performance." [5]
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
His style is progressive, sometimes experimental, but curiously conservative in other ways. While he used imitation, a relatively new musical technique, and heterophonic texture, one of the rarest textures in European music, he also still used parallel perfect intervals.