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With Skydancer, Dark Tranquillity aimed to write a death metal album that incorporated melody and counterpoint, as well as complex song structures.The songs are heavily dense with “20+ riffs that never are repeated in the same way” according to Sundin, and feature elements unusual for a death metal album such as clean vocal and acoustic guitar sections.
A harmonic motif is a series of chords defined in the abstract, that is, without reference to melody or rhythm. A melodic motif is a melodic formula , established without reference to intervals . A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.
Harmolodics seeks to free musical compositions from any tonal center, allowing harmonic progression independent of traditional European notions of tension and release (see: atonality). Harmolodics may loosely be defined as an expression of music in which harmony, movement of sound, and melody all share the same value. The general effect is that ...
P. Oxy. 9. Papyrus Oxyrhynchus 9 (P. Oxy. 9) is a fragment of the "Ruthmica Stoicheia" of Aristoxenus of Tarentum, written in Greek. It was discovered by Grenfell and Hunt in 1897 in Oxyrhynchus, in Middle Egypt. The fragment is dated to the third century. It is housed at Trinity College, Dublin. The text was published by Grenfell and Hunt in ...
Strong box or strongbox may refer to: A type of box. Strong box, a strongly built and secured casket (decorative box) Safe, a strongly built and secured metal box;
Elementa harmonica (Ἁρμονικὰ στοιχεῖα in Greek; Elements of Harmonics in English) is a treatise on the subject of musical scales by Aristoxenus, of which considerable amounts are extant.
Aristoxenus was born at Tarentum (in modern-day Apulia, southern Italy) in Magna Graecia, and was the son of a learned musician named Spintharus (otherwise Mnesias). [2] He learned music from his father, and having then been instructed by Lamprus of Erythrae and Xenophilus the Pythagorean, he finally became a pupil of Aristotle, [3] whom he appears to have rivaled in the variety of his studies.
As Frescobaldi mentioned in his book "Toccate e partite d’intavolatura di cimbalo" (Toccatas and Partits Scored for Harpsichord, Book 1, 1616), players should not play strictly according to the score, but imitate the singer more. Mattheson also use stylus fantasticus to describe free sections of Dietrich Buxtehude's preludes: "Now swift, now ...