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In counterpoint, the functional independence of voices is the prime concern. The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading.
In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison. Ex. 2, typical example of a false relation in the Late Baroque Style. Play ⓘ
Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorder. Similarly, it can also be applied to the soprano clef.
The quodlibet took on additional functions between the beginning and middle of the 19th century, when it became known as the potpourri and the musical switch.In these forms, the quodlibet would often feature anywhere from six to fifty or more consecutive "quotations"; the distinct incongruity between words and music served as a potent source of parody and entertainment. [4]
From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
Example of fauxbourdon. This is a portion of Ave Maris Stella, a Marian Antiphon, in a setting by Guillaume Du Fay, transcribed into modern notation. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below.
The early 15th-century composer Leonel Power likewise forbade the motion of "2 acordis perfite of one kynde, as 2 unisouns, 2 5ths, 2 8ths, 2 12ths, 2 15ths", [5] and it is with the transition to Renaissance-style counterpoint that the use of parallel perfect consonances was consistently avoided in practice.
The recorder family, one of the many consorts of instruments available to Renaissance composers. One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if ...