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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 ...
Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, [ clarification needed ] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in ...
In music theory, contrapuntal motion is the general movement of two melodic lines with respect to each other. 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.
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 ...
Canzona – Polyphonic instrumental or vocal composition originating in Italy, characterized by a contrapuntal style. Canzonetta – Short, light, and usually simple song or instrumental piece. Carol – A festive song, generally religious but non-liturgical, often with a dance-like or popular character.
[3] [7] In fact, Richard Hoppin regarded voice exchange as "the basic device from which the Notre Dame composers evolved ways of organizing and integrating the simultaneous melodies of polyphony," [8] and of considerable importance as a means of symmetry and design in polyphonic music as well as starting point for more complex contrapuntal ...
Polyphonic or Counterpoint or Contrapuntal: Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the Renaissance music, also prevalent during the Baroque period. [8] Polyphonic textures may contain several PMs. [5]
In many pieces in three contrapuntal parts, only two of the voices are in canon, while the remaining voice is a free melodic line. In Dufay's song "Resvelons nous, amoureux", the lower two voices are in canon, but the upper part is what David Fallows describes as a "florid top line": [11] Dufay, "Resvelons nous" Dufay, "Resvelons nous amoureux"