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Isorhythms first appear in French motets of the 13th century, such as in the Montpellier Codex. [1] Although 14th-century theorists used the words talea and color—the latter in a variety of senses related to repetition and embellishment [2] —the term isorhythm was coined in 1904 by musicologist Friedrich Ludwig, initially to describe the practice in 13th-century polyphony.
In medieval music theory, the terms color and coloration are used in four distinct senses, two of which relate to the notation and structuring of note durations, the third to florid ornamentation, and the fourth to the quality of chromatic music.
Repetition: elements being copied or mimicked numerous times. Rhythm: is achieved when recurring position, size, color, and use of a graphic element has a focal point interruption. Altering the basic theme achieves unity and helps keep interest.
The mathematician and musicologist Guerino Mazzola has used category theory (topos theory) for a basis of music theory, which includes using topology as a basis for a theory of rhythm and motives, and differential geometry as a basis for a theory of musical phrasing, tempo, and intonation. [20]
Viewing color has been widely shown to change an individual's emotional state and stimulate neurons.The Lüscher color test observes from experiments that when individuals are required to contemplate pure red for varying lengths of time, [the experiments] have shown that this color decidedly has a stimulating effect on the nervous system; blood pressure increases, and respiration rate and ...
A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. You find a melodic or rhythmic figure that you like, and you repeat it throughout the course of the melody or song. This sort of ...
Simple melodic pattern. Play ⓘ Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from "God Save the Queen" Play ⓘ. In music and jazz improvisation, a melodic pattern (or motive) is a cell or germ serving as the basis for repetitive pattern.
A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: [1] J.S. Bach Prelude from Cello Suite in G J.S. Bach Prelude from Cello Suite in G, BWV 1007. A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some ...