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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 ...
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
A typical solution is a metronome rhythm entering with equal delays, e.g., a sequence of every fourth beat, entering at the first, at the second, and at the third beat, which is a rhythm analogy of the transpositions of pitch class classes {C, E ♭, F ♯, A}. Non-trivial solutions have been found by Dan Tudor Vuza for a circular time with ...
The second part, on Musica Pratica, is the section of this treatise where the author presents his instruction on counterpoint, fugue, double counterpoint, a brief essay on musical taste, and his ideas on composing sacred music, writing in the a cappella and in the recitativo style. This part is in the form of a dialog, between a master ...
Contrapuntal works (2 C) C. Canon (music) (1 C, 6 P) V. Voice leading (1 C, 3 P) Pages in category "Counterpoint" The following 7 pages are in this category, out of 7 ...
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.
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]