Search results
Results from the WOW.Com Content Network
Linear counterpoint is "a purely horizontal technique in which the integrity of the individual melodic lines is not sacrificed to harmonic considerations. "Its distinctive feature is rather the concept of melody, which served as the starting-point for the adherents of the 'new objectivity' when they set up linear counterpoint as an anti-type to ...
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 fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note. Gioseffo Zarlino, a composer, author, and theorist in the Renaissance, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations). [44]
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.
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.
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]
After researching 1948's "International Motion Picture Almanac," film historian Terry Ramsaye cited the inspiration as Herrick's mother's cousin, a Texas wheat farmer named Oscar Pierce.
Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). [14]