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The most common texture in Western music: melody and accompaniment. Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic.
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
A texture may be arranged so as to "closely approach the single-object status of fused-ensemble timbres, for example, the beautiful 'northern lights' chord..., in a very interesting distribution of pitches, produces a fused sound supported by a suspended cymbal roll".
Euler's Tonnetz. The Tonnetz originally appeared in Leonhard Euler's 1739 Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae.Euler's Tonnetz, pictured at left, shows the triadic relationships of the perfect fifth and the major third: at the top of the image is the note F, and to the left underneath is C (a perfect fifth above F), and to the right is A (a ...
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.
From the early days of pop music to the modern era of K-pop, hip-hop, and more, Larger Than Life: Reign of the Boybands includes interviews with everyone from Donny Osmond to Lance Bass to Nick ...
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Differences between micropolyphonic texture and conventional polyphonic texture can be explained by Ligeti's own description: Technically speaking I have always approached musical texture through part-writing. Both Atmosphères and Lontano have a dense canonic structure. But you cannot actually hear the polyphony, the canon.
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