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In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
Tonality is the arrangement of pitches and / or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality. In this hierarchy, the single pitch or the root of a triad with the greatest stability in a melody or in its harmony is called the tonic. In this context "stability" approximately means ...
Subordinate harmony is the hierarchical tonality or tonal harmony well known today. Coordinate harmony is the older Medieval and Renaissance tonalité ancienne, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression ...
The term 'functional harmony' derives from Hugo Riemann and, more particularly, from his Harmony Simplified. [11] Riemann's direct inspiration was Moritz Hauptmann's dialectic description of tonality. [12] Riemann described three abstract functions: the tonic, the dominant (its upper fifth), and the subdominant (its lower fifth). [13]
Meyer lists melody, rhythm, timbre, harmony, "and the like" [12] as principal elements of music, while Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". [13] According to McClellan, two things should be considered, the quality or state of an element and its change over time. [14]
Ciro Scotto wrote that it is "a large harmony that subsumes the individual chords", adding that he used it more specifically to denote pitch-class subsets. [5] Julian Hook related it to the concept of a field of pitch classes, noting that the difference was one of terminology.
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 indifference of this rootless harmony to tonality places the burden of key verification upon the voice with the most active melodic line. [2] Quintal harmony (the harmonic layering of fifths specifically) is a lesser-used term, and since the fifth is the inversion or complement of the fourth, it is usually considered indistinct from quartal ...