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Asyndeton may be contrasted with syndeton (syndetic coordination) and polysyndeton, which describe the use of one or multiple coordinating conjunctions, respectively. More generally, in grammar , an asyndetic coordination is a type of coordination in which no coordinating conjunction is present between the conjuncts.
List of pieces using polytonality and/or bitonality.. Samuel Barber. Symphony No. 2 (1944) [citation needed]; Béla Bartók. Mikrokosmos Volume 5 number 125: The opening (mm. 1-76) of "Boating", (actually bimodality) in which the right hand uses pitches of E ♭ dorian and the left hand uses those of either G mixolydian or dorian [1]
Asyndeton – the deliberate omission of conjunctions that would normally be used. Audience – real, imagined, invoked, or ignored, this concept is at the very center of the intersections of composing and rhetoric. Aureation – the use of Latinate and polysyllabic terms to "heighten" diction.
For example, conjunctions like “και” (and) or “δε” (but) repeat frequently. A passage from the Book of Genesis gives an instance of the stately effect of polysyndeton: And God said, "Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind." And it was so.
Lithuanian traditional singing style sutartines is based on polytonality. A typical sutartines song is based on a six-bar melody, where the first three bars contain melody based on the notes of the triad of a major key (for example, in G major), and the next three bars is based on another key, always a major second higher or lower (for example, in A major).
Racing is part of regular music as well. "Accelerando” and “stringendo” are terms used to indicate to the player that the piece is to pick up steam. Music that races can also quicken the pulse.
Polyphony (/ p ə ˈ l ɪ f ə n i / pə-LIF-ə-nee) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice or a texture with one dominant melodic voice accompanied by chords ().
Baroque opera arias and a considerable number of baroque sacred music arias was dominated by the Da capo aria which were in the ABA form. A frequent model of the form began with a long A section in a major key, a short B section in a relative minor key mildly developing the thematic material of the A section and then a repetition of the A section. [4]