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A short piece of vocal music with lyrics is broadly termed a song, although in different styles of music, it may be called an aria or hymn. Vocal music often has a sequence of sustained pitches that rise and fall, creating a melody, but some vocal styles use less distinct pitches, such as chants or a rhythmic speech-like delivery, such as rapping.
Describing vocal sound is an inexact science largely because the human voice is a self-contained instrument. Since the vocal instrument is internal, the singer's ability to monitor the sound produced is complicated by the vibrations carried to the ear through the Eustachean (auditory) tube and the bony structures of the head and neck.
A part song, part-song or partsong is a form of choral music that consists of a secular (vs. ecclesiastical) song written or arranged for several vocal parts. Part songs are commonly sung by an SATB choir, but sometimes for an all-male or all-female ensemble. [5]
Song structure is the arrangement of a song, [1] and is a part of the songwriting process. It is typically sectional , which uses repeating forms in songs. Common piece-level musical forms for vocal music include bar form , 32-bar form , verse–chorus form , ternary form , strophic form , and the 12-bar blues .
One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1] Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). [2]
Anterior forebrain pathway (vocal learning): composed of Area X, which is a homologue to mammalian basal ganglia; the lateral part of the magnocellular nucleus of anterior nidopallium (LMAN), also considered a part of the avian basal ganglia; and the dorso-lateral division of the medial thalamus (DLM).
"Call and Answer" is a song by Canadian musical group Barenaked Ladies. It was the third single from their 1998 album Stunt . For its release, the song was both remixed and edited into a radio mix that cut from the second verse to the third chorus, skipping a chorus, an instrumental break and the third verse.
As four-part music became more established by the time of Johannes Ockeghem, the top and bottom parts were less likely to cross, but the inner voices continued to cross frequently. [ 5 ] Voice crossing appears frequently in 16th-century music, to such a degree that Knud Jeppesen , in his analysis of Renaissance polyphony , said that without ...