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Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, but spread to secular music, for which it is one of the standard forms today. Composers known for their homophonic work during the Baroque period include Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, and Johann Sebastian Bach.
In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations ...
When a musical key or key signature is referred to in a language other than English, that language may use the usual notation used in English (namely the letters A to G, along with translations of the words sharp, flat, major and minor in that language): languages which use the English system include Irish, Welsh, Hindi, Japanese (based on katakana in iroha order), Korean (based on hangul in ...
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).
Introduction to Sousa's "Washington Post March", m. 1-7 Play ⓘ features octave doubling [1] and a homorhythmic texture. In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2]
From Boeing's turbulence and a catastrophic hurricane, to Donald Trump's election victory, "Sunday Morning" host Jane Pauley looks back at key events of a year that was monumental.
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The third mazurka of this set has homophonic texture, comparable to the previous one. The piece unfolds with very varied dynamics and half-way through, it changes to the key of E major but changes back to the original key for the last few bars and the coda. It doesn’t follow traditional harmonic progressions (giving it a peculiar sound).