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Relating to music produced by instruments, as opposed to electric or electronic means ad libitum (commonly ad lib; Latin) At liberty (i.e. the speed and manner of execution are left to the performer. It can also mean improvisation.) adagietto Fairly slowly (but faster than adagio) adagio Slowly adagissimo Very, very slowly affannato, affannoso ...
Definition Lacuna: gap: A silent pause in a piece of music Ossia: from o ("or") + sia ("that it be") A secondary passage of music which may be played in place of the original Ostinato: stubborn, obstinate: A repeated motif or phrase in a piece of music Pensato: thought out: A composed imaginary note Ritornello: little return
In a music industry context, a "crossover artist" or "crossover band" is a performer or group from one style that has managed to garner a following amongst fans of a different musical style. For example, some country performers have managed to get "crossover" hits in the pop charts.
Anarâškielâ; العربية; Aragonés; Azərbaycanca; বাংলা; Башҡортса; Беларуская; Беларуская (тарашкевіца)
An example are the Impromptus (Op. 7) by Jan Voříšek. [ 9 ] Expanded ternary forms are especially common among Romantic-era composers ; for example, Chopin's "Military" Polonaise (Op. 40, No. 1) is in the form [(A–A–B–A-B–A) (C–C–D–C-D–C) (A–B–A)] , where the A and B sections and C and D sections are repeated as a group ...
An appoggiatura (/ ə ˌ p ɒ dʒ ə ˈ tj ʊər ə / ə-POJ-ə-TURE-ə, Italian: [appoddʒaˈtuːra]; German: Vorschlag or Vorhalt; French: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord.
Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions this is basically added music [clarification needed] (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic and fugues as polyphonic), many composers use more than one type of ...
In music, an instrumental idiom refers to writing, parts, and performance, those being idiomatic or nonidiomatic depending on how well each is suited to the specific instrument intended, in terms of both ease of playing and quality of music and the inherent tendencies and limitations of specific instruments.