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Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, but spread to secular music, for which it is one of the standard forms today. Composers known for their homophonic work during the Baroque period include Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, and Johann Sebastian Bach.
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 ...
The upper two parts are imitative, the lowest part consists of a repeated note (pedal point) and the remaining part weaves an independent melodic line: Schubert Sonata in B scherzo bars 21–24 Schubert Piano Sonata in B majore Scherzo bars 21–24. The final four bars revert to homophony, bringing the section to a close;
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 third mazurka of this set has homophonic texture, comparable to the previous one. The piece unfolds with very varied dynamics and half-way through, it changes to the key of E major but changes back to the original key for the last few bars and the coda. It doesn’t follow traditional harmonic progressions (giving it a peculiar sound).
Introduction to Sousa's "Washington Post March", m. 1-7 Play ⓘ features octave doubling [1] and a homorhythmic texture. In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2]
One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if composers are unaware of or indifferent to the idiomatic capabilities of different instruments, then ...
There are three ancient styles of singing in Lithuania that are connected with ethnographical regions: monophony, multi-voiced homophony, heterophony and polyphony. Monophony mostly occurs in southern , southwest and eastern (Aukštaitija) parts of Lithuania. Multi-voiced homophony is widespread in the entire Lithuania.