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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 ...
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 ...
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 ().
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.
Either way, a literature review is supposed to provide the researcher/author and the audiences with a general image of the existing knowledge on the topic under question. A good literature review can ensure that a proper research question has been asked and a proper theoretical framework and/or research methodology have been chosen. To be ...
Though written in a freely atonal style, Pierrot lunaire uses a variety of classical forms and techniques, including canon, fugue, rondo, passacaglia, and free counterpoint. The instrumental combinations (including doublings) vary between most movements. The entire ensemble is used only in Nos. 6, 11, 14, 15 (end), 16, 18, 19 (end), 20, and 21. [8]
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 ...
The crucial elements that led to the sonata form were the weakening of the difference between binary and ternary form; the shift of texture away from full polyphony (many voices in imitation) to homophony (a single dominant voice and supporting harmony); and the increasing reliance on juxtaposing different keys and textures. As different key ...