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Leitmotif associated with Siegfried's horn call in Richard Wagner's 1876 opera, Siegfried. A leitmotif or Leitmotiv [1] (/ ˌ l aɪ t m oʊ ˈ t iː f /) is a "short, recurring musical phrase" [2] associated with a particular person, place, or idea. It is closely related to the musical concepts of idée fixe or motto-theme. [2]
Motivic saturation is the "immersion of a musical motif in a composition", i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including Miriam Gideon, as in "Night is my Sister" (1952) and "Fantasy on a Javanese Motif" (1958), and Donald Erb.
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
The term "riff-driven" is used to describe a piece of music that relies on a repeated instrumental riff as the basis of its most prominent melody, cadence, or (in some cases) leitmotif. Riff-driven songs are largely a product of jazz, blues, and post-blues era music (rock and pop). [10]
"b–a–c–h is beginning and end of all music" (Max Reger 1912) In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach's family name.
Theme music is a musical composition which is often written specifically for radio programming, television shows, video games, or films and is usually played during the title sequence, opening credits, closing credits, and in some instances at some point during the program. [1] The purpose of a theme song is often similar to that of a leitmotif.
Fortspinnung (English: spinning-forth) is a German term conceived in 1915 [1] to refer to a specific process of development of a musical motif.In this process, the motif is developed into an entire musical structure by using sequences, intervallic changes or simple repetitions.
It was the suggestion of the work's musical mid-wife, Balakirev, to base Romeo structurally on his King Lear, a tragic overture in sonata form after the example of Beethoven's overtures.) [36] R.W.S. Mendl, writing in The Musical Quarterly, states that Tchaikovsky was by temperament peculiarly well-fitted for the composition of symphonic poems ...