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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.
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.
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
Greek art emphasized humanism along with the human mind and the human body's beauty. [8] Greek youths trained and competed in athletic contests in the nude. A great contribution to the contrapposto pose was the concept of a canon of proportions, in which mathematical properties are used to create proportions.
Example of a canon in three voices at the unison sung with a text of a German poem, four beats apart. 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.).
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).
This movement provides an example of total organization of many musical features: pitch rests, rhythm, dynamics, tempo, instrumentation, and form. The pitch content remains free throughout, but the dynamics and rhythm are controlled. Crawford structures this movement around a dynamic design that Seeger called "dynamic counterpoint."
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 ().