Search results
Results from the WOW.Com Content Network
Inspired by Spinoza, [6] Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic ...
Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, [clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in ...
In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. [5] [6] Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the highest, plays a distinct melody, and the accompanying voices work together to articulate an underlying ...
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
In many pieces in three contrapuntal parts, only two of the voices are in canon, while the remaining voice is a free melodic line. In Dufay's song "Resvelons nous, amoureux", the lower two voices are in canon, but the upper part is what David Fallows describes as a "florid top line": [11] Dufay, "Resvelons nous" Dufay, "Resvelons nous amoureux"
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
In classical music, a definition of polyphony does not only mean just playing multiple notes at once but an ability to make audiences perceive multiple lines of independent melodies. Playing multiple notes as a whole, such as a rhythm from a chord pattern, is not polyphony but homophony.