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[example needed] The Knorkator song "[Buchstabe]" (the actual title is a glyph ) on the 1999 album Hasenchartbreaker uses a similar sound (though linguolabial instead of bilabial) to replace "br" in a number of German words (e.g. [ˈʙaːtkaɐ̯tɔfəln] for Bratkartoffeln ).
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 procedures.
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.
Analyses of the Grosse Fuge help to understand the structure and contrapuntal devices of the piece. Musicologist David Benjamin Levy writes, "Regardless of how one hears the piece structurally, the composition remains filled with paradoxes that leave the listener ultimately dissatisfied with an exegesis derived solely from a structural ...
Many of these are degenerations in the pronunciation of names that originated in other languages. Sometimes a well-known namesake with the same spelling has a markedly different pronunciation. These are known as heterophonic names or heterophones (unlike heterographs , which are written differently but pronounced the same).
Most Italian operas of that period were concentrated on the solo aria. Whereas, Fux's operas employ an ensemble of solo singers and the large arias often use a concertizing solo instrument. Fux's emphasis on contrapuntal structures was conservative and represented the older manner of treating musical texture. [3]
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 ().
If there is one generally accepted pronunciation in the field, use that. However, there are often multiple pronunciations heard, along a cline from highly anglicized pronunciations, as found in Shakespeare, to attempts to remain faithful to the Latin or Greek pronunciation. For example, Io may be pronounced either / ˈ aɪ oʊ / or / ˈ iː oʊ ...