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The most common texture in Western music: melody and accompaniment. Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic.
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 ...
Coffee and synths. KayoDot album "Hubardo" recording, 2013-06-13. Music Literacy analyses the defining concepts of a given musical work. Students learn to critically analyse and articulate a series of music systems and their rudimentary elements, as well as to better understand musical notation and the tuning systems followed by composers in order to create music.
This category has the following 2 subcategories, out of 2 total. ... Simultaneities (music) (1 C, 8 P) Pages in category "Musical texture" The following 16 pages are ...
The earliest example of micropolyphony in Ligeti's work occurs in the second movement (mm 25–37) of his orchestral composition Apparitions. [2] He used the technique in a number of his other works, including Atmosphères for orchestra; the first movement of his Requiem for soprano, mezzo-soprano, mixed choir, and orchestra; the unaccompanied ...
In music, heterophony is a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations ...
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In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".