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In his early work, such as Piano Phase (1967) and Clapping Music (1972), Steve Reich used a process he calls phasing which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation.
Sheet music published in California between 1852 and 1900, along with related materials such as a San Francisco publisher's catalog of 1872, programs, songsheets, advertisements, and photographs. Images of every printed page of sheet music from eleven locations have been scanned at 400 dpi, in color where indicated. University of California ...
The first use of the term air de cour was in Adrian Le Roy's Airs de cour miz sur le luth (Book on Court Tunes for the Luth), [1] a collection of music published in 1571. The earliest examples of the form are for solo voice accompanied by lute; [2] towards the end of the 16th century, four or five voices are common, sometimes accompanied (or instrumental accompaniment may have been optional ...
A florid solo at the end of a performance Cantata: sung: A piece for orchestra and singers Capriccio: caprice: A lively piece, free in form, often used to show musical skill Cavatina: small instrumental tone: A simple melody or song Coda: tail: The end of a piece Concerto: concert: A work for one or more solo instruments accompanied by an ...
Perpetual canon – Canon where the voices sing the same melody in unison, starting at different times, creating a harmonious overlap that can be repeated indefinitely. A catch is a subtype of this canon. Prolation canon – Canon where the same melody is performed at different speeds or note values by different voices.
Renaissance Period Music Collection of music from 5 countries "The Renaissance Channel" – Renaissance Music Videos "Before and After Internet Radio" – Medieval, Renaissance, Modern Classical music; Répertoire International des Sources Musicales (RISM), a free, searchable database of worldwide locations for music manuscripts up to c. 1800 ...
Canon. Ter voce ciemus: Thebana bella for 6 voices: unknown: Summer 1770 89a: 73i "Canon for 4 instruments" — April 1770 228: 515b "Ach! zu kurz" Double canon for 4 voices: unknown: before 24 June 1787 229: 382a "Sie ist dahin" Canon for 3 voices: Ludwig Heinrich Christoph Hölty (1748–1776) 1782 230: 382b "Selig, selig" Canon for 2 voices
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
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