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In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] 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.
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.
Literally "flight"; hence a complex and highly regimented contrapuntal form in music; a short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses funebre Funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo ...
An equianalgesic chart is a conversion chart that lists equivalent doses of analgesics (drugs used to relieve pain). Equianalgesic charts are used for calculation of an equivalent dose (a dose which would offer an equal amount of analgesia) between different analgesics. [1]
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
Fugue – Complex contrapuntal composition in which a single theme or subject is introduced by one part and successively taken up by others. Hymn – A religious song of praise. Invention – Short composition in two-part counterpoint, usually for a keyboard instrument. Lament – Song expressing grief or sorrow.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Most of these methods involve contrapuntal processes, to such a degree that Schenkerian theory is a theory that almost completely synthesizes harmony and linear counterpoint in the service of the more global phenomenon of tonal prolongation.