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The most common texture in Western music: melody and accompaniment. Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic.
Pointillism also refers to a style of 20th-century music composition. Different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is also known as punctualism or klangfarbenmelodie.
Writing in 2003, music critic Robert Christgau describes modern R&B as being "about texture, mood, feel—vocal and instrumental and rhythmic, articulated as they're smooshed together". [13] Usher was cited by Billboard as the no. 1 Hot 100 artist of the 2000s decade, with 7 number-one singles that accumulated 42 weeks at the top. [14]
The most prominent feature in musical Impressionism is the use of "color", or in musical terms, timbre, which can be achieved through orchestration, harmonic usage, texture, etc. [3] Other elements of musical Impressionism also involve new chord combinations, ambiguous tonality, extended harmonies, use of modes and exotic scales, parallel ...
In his orchestral music, Beethoven achieves a "sheer variety and extreme range of color, texture, and sound" that, for the most part, are achieved without enlarging the orchestral forces used by Haydn and Mozart. [47] However, in works such as the 3rd, 5th, and 6th symphonies, Beethoven does use larger orchestras. [48]
Ambient music may have elements of new-age music and drone music, as some works may use sustained or repeated notes. [15] Minimoog Voyager XL, owned by Brian Eno. Ambient music did not achieve large commercial success, being criticized as everything from "dolled-up new age, ... to boring and irrelevant technical noodling". [16]
In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".
The earliest example of micropolyphony in Ligeti's work occurs in the second movement (mm 25–37) of his orchestral composition Apparitions. [2] He used the technique in a number of his other works, including Atmosphères for orchestra; the first movement of his Requiem for soprano, mezzo-soprano, mixed choir, and orchestra; the unaccompanied ...