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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 ...
The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see Common types below). For example, a thick texture contains many ...
In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2] All voices sing the same rhythm. This texture results in a homophonic texture, which is a blocked chordal texture.
Organum [a] (/ ˈ ɔːr ɡ ə n əm /) is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages.Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed.
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]
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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).