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In music, a reduction is an arrangement or transcription of an existing score or composition in which complexity is lessened to make analysis, performance, or practice easier or clearer; the number of parts may be reduced or rhythm may be simplified, such as through the use of block chords.
In archaeology, lithic analysis is the analysis of stone tools and other chipped stone artifacts using basic scientific techniques. At its most basic level, lithic analyses involve an analysis of the artifact's morphology, the measurement of various physical attributes, and examining other visible features (such as noting the presence or absence of cortex, for example).
The term denotes a description of the stages of production of material culture—especially pottery and stone tools made through lithic reduction—from raw material acquisition to tool production to use to abandonment. [1] [2] [3] The chaîne opératoire was born out of archaeologists' interest in elevating lithic analysis beyond simple ...
Flaked stone reduction involves the use of a hard hammer percussor, such as a hammerstone, a soft hammer fabricator (made of wood, bone or antler), or a wood or antler punch to detach lithic flakes from the lithic core. As flakes are detached in sequence, the original mass of stone is reduced; hence the term for this process.
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. [60] In the tenth edition of The Oxford Companion to Music , Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between ...
He is one of the first authorities in textual criticism of music. [10] He is most famous for the work he did on Beethoven's sketches; he was one of the first scholars to study them. He was the first one to demonstrate how important the documents were in understanding Beethoven's compositional process.
Some definitions refer to music as a score, or a composition: [18] [7] [19] music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of reading music , at least for trained musicians, involves a process, called "inner hearing" or "audiation ...
Introduction to Sousa's "Washington Post March", mm. 1–7 features octave doubling [1] and a homorhythmic texture.. In music, texture is how the tempo and the melodic and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece.