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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 ...
Note: The "lost overture" to King Kong (1933), which first premiered on the channel Turner Classic Movies in 2005 and was released on DVD that same year, is in fact a montage of music recordings from the film spliced together for that specific release. There was no overture in the original release.
Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions this is basically added music [clarification needed] (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic and fugues as polyphonic), many composers use more than one type of ...
Image credits: Pokémon Center Co., Ltd. #4 Barry, Maurice, and Robin. Barry, Maurice, and Robin Gibb are the brother trio known as the Bee Gees. They are celebrated in music for their harmonious ...
This corresponds to the view that gamelan music is heterophonic: the balungan is then the melody which is being elaborated. "An abstraction of the inner melody felt by musicians," [4] the balungan is, "the part most frequently notated by Javanese musicians, and the only one likely to be used in performance." [5]
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).
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Spiegel im Spiegel (lit. Tooltip literal translation 'mirror(s) in the mirror') is a composition by Arvo Pärt written in 1978, just before his departure from Estonia. The piece is in the tintinnabular style, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.