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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]
Gigues often have a contrapuntal texture as well as often having accents on the third beats in the bar, making the gigue a lively folk dance. In early French theatre, it was customary to end a play's performance with a gigue, complete with music and dancing. [3] A gigue, like other Baroque dances, consists of two sections. Another gigue rhythm. [1]
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 ...
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 ...
If the labiovelars were just labialized forms of the "plain velars", they would then have been pronounced *[qʷ], *[ɢʷ], *[ɢʷʱ] but the pronunciation of the labiovelars as *[kʷ], *[ɡʷ], *[ɡʷʱ] would still be possible in uvular theory, if the satem languages first shifted the "palatovelars" and then later merged the "plain velars" and ...
Normally, pronunciation is given only for the subject of the article in its lead section. For non-English words and names, use the pronunciation key for the appropriate language. If a common English rendering of the non-English name exists (Venice, Nikita Khrushchev), its pronunciation, if necessary, should be indicated before the non-English one.
Inventions originated from contrapuntal improvisations in Italy, especially from the form of the composer Francesco Antonio Bonporti. Bach adapted and modified the form to what is considered to be a formal invention. Bach wrote 15 inventions (BWV 772–786) as exercises for his son, Wilhelm Friedemann Bach.
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.