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Consonant harmony is a type of "long-distance" phonological assimilation, akin to the similar assimilatory process involving vowels, i.e. vowel harmony. Examples
Vowel-consonant harmony, or consonant-vowel harmony, is a type of "long-distance" phonological assimilation, akin to the similar assimilatory process involving vowels
The opposition between consonance and dissonance can be made in different contexts: In acoustics or psychophysiology, the distinction may be objective.In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).
Although vowel harmony is the most well-known harmony, not all types of harmony that occur in the world's languages involve only vowels. Other types of harmony involve consonants (and is known as consonant harmony). Rarer types of harmony are those that involve tone or both vowels and consonants (e.g. postvelar harmony).
Minimal music (also called minimalism) [2] [3] is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units.
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 ...
Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music , including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and ...
A clear relationship between harmony and voice-leading. Straus concludes that such conditions do not exist in atonal music and therefore that "atonal prolongation" is impossible; although he is open to the possibility that prolongation is a possibility in other post-tonal music (he gives the example of music composed with the octatonic scale ...