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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 ...
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 ().
[3] [7] In fact, Richard Hoppin regarded voice exchange as "the basic device from which the Notre Dame composers evolved ways of organizing and integrating the simultaneous melodies of polyphony," [8] and of considerable importance as a means of symmetry and design in polyphonic music as well as starting point for more complex contrapuntal ...
In particular, he opposes the idea (promulgated by Riemann and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of free composition (e.g. the writing of inventions and fugues). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from ...
Canzona – Polyphonic instrumental or vocal composition originating in Italy, characterized by a contrapuntal style. Canzonetta – Short, light, and usually simple song or instrumental piece. Carol – A festive song, generally religious but non-liturgical, often with a dance-like or popular character.
Ignited, on fire accessible Music that is easy to listen to/understand acciaccato Broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top acciaccatura Crushing (i.e. a very fast grace note that is "crushed" against the note that follows and takes up no value in the measure) accidental
Polyphonic or Counterpoint or Contrapuntal: Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the Renaissance music, also prevalent during the Baroque period. [8] Polyphonic textures may contain several PMs. [5]
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 ]