Search results
Results from the WOW.Com Content Network
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
In the form aioli, the word is a compound of Provençal ai, meaning "garlic", and oli, meaning "oil". [11] The English spelling comes from the French aïoli, which is an adaptation of an Occitan term. The spelling in Occitan may be alhòli, following the classical norm, or aiòli, following the Mistralian norm. [12]
Aioli isn’t just a fancy word for mayo. For premium support please call: 800-290-4726 more ways to reach us
Even those lines of which the parts happen not to recur in any other passage have the same formulaic character, and it is doubtless pure chance that they are not attested elsewhere. [ 2 ] In the hands of Meillet's student Milman Parry (1902–1935), and subsequently the latter's student Albert Lord (1912–1991), the approach transformed the ...
And is aioli really just a fancy word for mayonnaise?
Atonality in its broadest sense is music that lacks a tonal center, or key. [1] Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. [2]
Many character pieces are composed in ternary form, but that form is not universal in the genre. A common feature is a title expressive of the character intended, such as Stephen Heller's Voyage autour de ma chambre ("Voyage around my room"), an early example of the genre, or Bruckner's Abendklänge ("Evening harmonies").
Arguably Beethoven achieved the highest elaboration of this technique; the famous "fate motif" —the pattern of three short notes followed by one long one—that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example.