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Analyses of the Grosse Fuge help to understand the structure and contrapuntal devices of the piece. Musicologist David Benjamin Levy writes, "Regardless of how one hears the piece structurally, the composition remains filled with paradoxes that leave the listener ultimately dissatisfied with an exegesis derived solely from a structural ...
Most Italian operas of that period were concentrated on the solo aria. Whereas, Fux's operas employ an ensemble of solo singers and the large arias often use a concertizing solo instrument. Fux's emphasis on contrapuntal structures was conservative and represented the older manner of treating musical texture. [3]
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 rest of Buxtehude's keyboard music does not employ pedals. Of the organ works, a few keyboard canzonas are the only strictly contrapuntal pieces in Buxtehude's oeuvre and were probably composed with teaching purposes in mind. [3] There are also three pieces labelled fugues: only the first, BuxWV 174, is a real fugue. BuxWV 175 is more of a ...
This pointing structure is missing, i. e. carefully averted in the Fortspinnung. Thus the Gestalt of the Fortspinnungsthema has a 'rag margin', while the Periode ends more predictably. It is also possible to use the fortspinnung form term that stands for a structure with three parts: Vordersatz: The antecedent or exposition of the motif.
The second group, melodious and in ABA' lied form, is mostly of contrapuntal structure. The third group, mostly rhythmical and often in unison, is sometimes a variant of the first group, as in Symphony No. 4. The often extensive development is followed by a modified and somewhat shortened reprise [45] and a powerful coda.
Many of these are degenerations in the pronunciation of names that originated in other languages. Sometimes a well-known namesake with the same spelling has a markedly different pronunciation. These are known as heterophonic names or heterophones (unlike heterographs , which are written differently but pronounced the same).
The very first sentence begins: "In music, a fugue (/fjuːɡ/ fewg) is a contrapuntal compositional technique". The words "contrapuntal" and "polyphonic" are largely synonymous, and in fact the situations in which they may be distinguished would leave fugue defined as contrapuntal but not polyphonic. However, this is a very specialized distinction.