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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 procedures.
Polyphony (/ p ə ˈ l ɪ f ə n i / pə-LIF-ə-nee) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice or a texture with one dominant melodic voice accompanied by chords ().
In particular, he opposes the idea (promulgated by Riemann and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of free composition (e.g. the writing of inventions and fugues). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from ...
Polyphonic or Counterpoint or Contrapuntal: Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the Renaissance music, also prevalent during the Baroque period. [8] Polyphonic textures may contain several PMs. [5]
[3] [7] In fact, Richard Hoppin regarded voice exchange as "the basic device from which the Notre Dame composers evolved ways of organizing and integrating the simultaneous melodies of polyphony," [8] and of considerable importance as a means of symmetry and design in polyphonic music as well as starting point for more complex contrapuntal ...
Canzona – Polyphonic instrumental or vocal composition originating in Italy, characterized by a contrapuntal style. Canzonetta – Short, light, and usually simple song or instrumental piece. Carol – A festive song, generally religious but non-liturgical, often with a dance-like or popular character.
In music theory, contrapuntal motion is the general movement of two melodic lines with respect to each other. 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.
In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem. [3] In the 16th century, more and more composers set the Requiem mass.