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Polyphony in literature is the consequence of a dialogic sense of truth in combination with the special authorial position that makes possible the realization of that sense on the page. [3] The dialogic sense of truth, as it manifests in Dostoevsky, is a radically different way of understanding the world to that of the monologic. Dostoevsky's ...
It can be differentiated between two-, three- and four-voice polyphony. In Aromanian music, polyphony is common, and polyphonic music follows a set of common rules. [25] The phenomenon of Albanian folk iso-polyphony (Albanian iso-polyphony) has been proclaimed by UNESCO a "Masterpiece of the Oral and Intangible Heritage of Humanity".
Dissonant counterpoint was originally theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved ...
Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint.
An early example of medieval voice-crossing can be found in what Richard Taruskin (2009, p. 394) calls “English twinsongs.” “These songs, among the earliest polyphonic vernacular settings to survive in any language, employ a more sophisticated sort of voice-leading, through contrary motion and voice crossings.” [16] Edi beo Edi beo
Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...
Virgil Thomson [16] lists the "raw materials" of music in order of their supposed discovery: rhythm, melody, and harmony; including counterpoint and orchestration. Near the end of the twentieth century music scholarship began to give more attention to social and physical elements of music. [17]
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 ...