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In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia, the ricercar, and later, the canon and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choral works ...
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal composition." [5] In counterpoint, imitation occurs in a second voice, usually at a different pitch. A short phrase treated imitatively is called an attacco.
The opening line shows the lyrical use of imitative counterpoint. The work was composed during Josquin des Prez's service at the North Italian court at Milan. It was initially thought to have been copied into the manuscript Munich 3154 by 1476. [1] Subsequent work by Joshua Rifkin established the date of publication to about 1485. [2]
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 ...
The Renaissance motet is polyphonic, sometimes with an imitative counterpoint, for a chorus singing a Latin and usually sacred text. It is not connected to a specific liturgy , making it suitable for any service.
Ricercar – Instrumental composition featuring imitative counterpoint. Sequence – Chant or hymn sung or recited during the liturgical celebration, typically following the Alleluia. Tiento – Form of keyboard music similar to the fantasia, known for its intricate counterpoint.
Many of the pieces are notable for their consistent employment of imitative counterpoint: for example, the Fugue grave of the third mass is fully imitative, a strict four-voice fugue, and even the passacaglia begins with an imitative passage.