Search results
Results from the WOW.Com Content Network
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.
Zacconi, unlike later theorists, included a few extra contrapuntal techniques, such as invertible counterpoint. Gradus ad Parnassum (1725) by Johann Joseph Fux defines the modern system of teaching counterpoint. In 1725 Johann Joseph Fux published Gradus ad Parnassum (Steps to Parnassus), in which he described five species: Note against note;
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
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).
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).
Experimental music theatre – Work that combines elements of music, theatre, and often other arts, emphasizing innovation, avant-garde techniques, and the exploration of new forms of expression. Musical theatre – Theatrical performance combining music, songs, spoken dialogue, and dance.
In Music, Imagination, and Culture Nicholas Cook gives the following concise description: "The Handel Variations consist of a theme and twenty-five variations, each of equal length, plus a much longer fugue at the end which provides the climax of the movement in terms of duration, dynamics, and contrapuntal complexity.