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In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
Inspired by Spinoza, [6] Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures.
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
For instance, a well known example of sensitiveness to a specific type of biological motion is expert dancers observing others dancing. Compared to people who do not know how to dance, expert dancers show more sensitiveness to the biological motion from the dance style of their expertise. The same expert dancer would also show similar but less ...
For example, studies frequently combine EMG and kinematics to determine motor pattern, the series of electrical and kinematic events that produce a given movement. Optogenetic perturbations are also frequently combined with kinematics to study how locomotor behaviors and tasks are affected by the activity of a certain group of neurons.
Neotonality (or neocentricity) is an inclusive term referring to musical compositions of the twentieth century in which the tonality of the common-practice period (i.e. functional harmony and tonic-dominant relationships) is replaced by one or several nontraditional tonal conceptions, such as tonal assertion or contrapuntal motion around a central chord.
The House passed the "Protection of Women and Girls in Sports Act," which could change Title IX protections and ensure only people assigned female at birth participate in women and girls athletics ...
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), he argues that in practice most post-tonal music does ...