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Musical quotation is to be distinguished from variation, where a composer takes a theme (their own or another's) and writes variations on it.In that case, the origin of the theme is usually acknowledged in the title (e.g., Johannes Brahms's Variations on a Theme by Haydn).
The unifying moments in improvisation that take place in live performance are understood to encompass the performer, the listener, and the physical space that the performance takes place in. [22] Even if improvisation is also found outside of jazz, it may be that no other music relies so much on the art of "composing in the moment", demanding ...
Sirius, electronic music with trumpet, soprano, bass clarinet, and bass voice, Nr. 43 (1975–77) Solo , for a melody instrument and feedback (live electronics with 4 technicians, 4 pair of loudspeakers), Nr. 19 (1965–66)
In music, an invention is a short composition (usually for a keyboard instrument) in two-part counterpoint. (Compositions in the same style as an invention but using three-part counterpoint are known as sinfonias. Some modern publishers call them "three-part inventions" to avoid confusion with symphonies.)
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
Figuratively, a five-finger exercise or simply a finger exercise, is an exercise used solely to develop a skill: for example, in philosophy, [7] economics, [8] or writing. [ 9 ] As a mnemonic , it is a plan of Christian salvation in the Stone-Campbell Movement , where the five fingers represent "faith, repentance, baptism, remission of sins ...
In Western music theory, the term sentence is analogous to the way the term is used in linguistics, in that it usually refers to a complete, somewhat self-contained statement. Usually a sentence refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of movement or section ...
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]