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The rhythmic unison in all the parts makes this passage an example of homorhythm. In music, homophony ( / h ə ˈ m ɒ f ( ə ) n iː , h oʊ -/ ; [ 1 ] [ 2 ] , Greek: ὁμόφωνος, homóphōnos , from ὁμός, homós , "same" and φωνή, phōnē , "sound, tone") is a texture in which a primary part is supported by one or more ...
In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations ...
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).
Homorhythm is a condition of homophony. [2] All voices sing the same rhythm. This texture results in a homophonic texture, which is a blocked chordal texture. Homorhythmic texture delivers lyrics with clarity and emphasis. Texture in which parts have different rhythms is heterorythmic or heterometric.
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 ().
Many classical pieces feature different kinds of texture within a short space of time. An example is the Scherzo from Schubert’s piano sonata in B major, D575. The first four bars are monophonic, with both hands performing the same melody an octave apart: Schubert Sonata in B scherzo bars 1–4 Schubert Piano Sonata in B major scherzo bars 1–4
Dutch has heteronyms which vary in stress position, known as klemtoonhomogramen 'stress homograms', such as appel: 'apple' vs. 'appeal' (formerly written appèl). Other examples include beamen, bedelen, hockeyster, kantelen, misdadiger, overweg, verspringen, verwerpen.
In common speech the vocalization is usual after short vowels as well, and additional contractions may occur: for example Dorn [dɔɐ̯n] ~ [dɔːn], hart [haɐ̯t] ~ [haːt]. [14] Commonplace mergers include that of /ar/ with /aː/ (leading to homophony of e.g. warten, waten ) and loss of length distinctions before coda /r/ (e.g. homophony of ...