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The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Dahlhaus, Carl, Julian Anderson, Charles Wilson, Richard Cohn, and Brian Hyer. 2001. "Harmony". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
Subordinate harmony is the hierarchical tonality or tonal harmony well known today. Coordinate harmony is the older Medieval and Renaissance tonalité ancienne, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression ...
A possible reason for this broader usage of terms "tonality" and "tonal" is the attempt to translate German "Tonart" as "tonality" and "Tonarten-" prefix as "tonal" (for example, it is rendered so in the seminal New Grove article "Mode", [61] etc.). Therefore, two different German words "Tonart" and "Tonalität" have sometimes been translated ...
Among the tunes in Sacred Harmony that are still in use are Derby, Helmsley, and Savannah. Accompanists to hymn singing had a tune book, a volume with a collection of tunes, most without words, the exception being the occasional lyric when underlay of words to the music was ambiguous. An example of this was The Bristol Tune Book. [25]
A gospel harmony is an attempt to compile the canonical gospels of the Christian New Testament into a single account. [1] This may take the form either of a single, merged narrative, or a tabular format with one column for each gospel, technically known as a synopsis, although the word harmony is often used for both. [1]
The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Andrews, H. K. 2001. "Whole-Tone Scale". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
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]
The only record of communal song in the Gospels is the last meeting of the disciples before the Crucifixion. [1] Outside the Gospels, there is a reference to St. Paul encouraging the Ephesians and Colossians to use psalms, hymns and spiritual songs.
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