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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 ...
Homorhythm is a condition of homophony. [2] All voices sing the same rhythm. This texture results in a homophonic texture, which is a blocked chordal texture. Homorhythmic texture delivers lyrics with clarity and emphasis. Texture in which parts have different rhythms is heterorythmic or heterometric.
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).
Homophony − in music is a texture in which multiple voices move together in harmony. Homophony (writing) − in a theory of writing systems is one of the forms of phonogram. Homophonic substitution cipher − a cipher that disguises plaintext letter frequencies by homophony: 'e' is given more homophonic ciphertext symbols than 'z'.
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.
The unity of musical sound, representing the spiritual unity of prayer, completes the act of worship which has been the rhetorical goal of the text. The final lines are sung in homophony, as if the four, once separate voices have aligned under the grace of God.
In European classical music, imitative writing was featured heavily in the highly polyphonic compositions of the Renaissance and Baroque eras.A more improvisatory form of imitation can be found in Arab and Indian vocal music where the instrumentalist may accompany the vocalist in a vocal improvisation with imitation.