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The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal music is that performed by two choirs in interaction, often singing alternate musical phrases. [1]
Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural expression—in religious observance, public gatherings, sporting events, children's rhymes, and most notably, in African-American music in its myriad forms and descendants.
However, antiphonal chants are generally performed in responsorial style by a solo cantor alternating with a chorus. This practice appears to have begun in the Middle Ages. [ 54 ] Another medieval innovation had the solo cantor sing the opening words of responsorial chants, with the full chorus finishing the end of the opening phrase.
The earliest 8th-century fragments, and the more complete chantbooks from the 11th and 12th centuries that preserve the first recorded musical notation, show marked differences between the Gregorian and Ambrosian repertories. Later additions to the Ambrosian repertory, whose style differs from the earlier chants, may reflect Gregorian influence.
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).
The list is full of examples of this art style and movement that were created by artists from all around the world. So, check them out; maybe it will convince you to become a surrealism enthusiast ...
In Ecclesiis is one of Giovanni Gabrieli's most famous single works. An example of polychoral techniques, it also epitomizes Baroque and Renaissance styles, with its use of hexachord-based harmonies, chromatic mediants, movement by fifths, pedal points and extended plagal cadences.
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