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Inspired by Spinoza, [6] Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures.
Such tones are most obvious in homophonic music but occur at least as frequently in contrapuntal music. According to Music in Theory and Practice, "Most nonharmonic tones are dissonant and create intervals of a second, fourth or seventh", [4] which are required to resolve to a chord tone in conventional ways.
In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
Another crucial distinction between Renaissance and Baroque writing is its texture: the shift from contrapuntal polyphony, in which all voices are theoretically equal, to monody and treble-bass polarity, along with the development of basso continuo. In this new style of writing, solo melody and bass line accompaniment were now the important ...
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
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).
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Literally "flight"; hence a complex and highly regimented contrapuntal form in music; a short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses funebre Funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo ...