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Introduction to Sousa's "Washington Post March", mm. 1–7 features octave doubling [1] and a homorhythmic texture. In music, texture is how the tempo and the melodic and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Some definitions refer to music as a score, or a composition: [18] [7] [19] music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of reading music , at least for trained musicians, involves a process, called "inner hearing" or "audiation ...
In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".
In music and musical form, contrast is the difference between parts or different instrument sounds. The three types of contrast are rhythmic contrast, melodic contrast, and harmonic contrast. [1] Procedures of contrast include stratification, juxtaposition, and interpolation.
Polyphony (/ p ə ˈ l ɪ f ə n i / pə-LIF-ə-nee) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice or a texture with one dominant melodic voice accompanied by chords ().
The most common, grounded in "perceptive introspection, or in a certain number of general ideas concerning musical perception ... a musicologist ... describes what they think is the listener's perception of the passage", [20] [incomplete short citation], analysis of measures 9–11 of Bach's C minor fugue in Book I of the Well-Tempered Clavier
Texture (music) This page was last edited on 1 July 2016, at 16:45 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License ...