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Another crucial distinction between Renaissance and Baroque writing is its texture: the shift from contrapuntal polyphony, in which all voices are theoretically equal, to monody and treble-bass polarity, along with the development of basso continuo. In this new style of writing, solo melody and bass line accompaniment were now the important ...
In particular, he opposes the idea (promulgated by Riemann and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of free composition (e.g. the writing of inventions and fugues). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from ...
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 ...
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 ().
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.
In 1610, Girolamo Diruta, a composer of the Venetian school, published Il Transilvano, which presented the Renaissance polyphonic style as a series of types: one note against one note, two notes against one note, suspensions, and so forth. Fux's work repeated some of Diruta's, possibly coincidentally, since he is not known to have had a copy.
The historical development of polyphony and part-writing is a central thread through European music history. The earliest notated pieces of music in Europe were gregorian chant melodies. It appears that the Codex Calixtinus (12th century) contains the earliest extant decipherable part music. [ 4 ]
In the 13th century, the technique was used by English composers of the Worcester school as a structural device. [2] In the genre rondellus, as described by the theorist Walter Odington (c. 1300), the central part of the piece was based entirely on voice exchange. Ordinarily, but not always, the text is exchanged along with the melody. [10]