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Theme-and-variation structure generally begins with a theme (which is itself sometimes preceded by an introduction), typically between eight and thirty-two bars in length; each variation, particularly in music of the eighteenth century and earlier, will be of the same length and structure as the theme. [8]
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
A theme that is repeated and imitated and built upon by other instruments with a time delay, creating a layered effect; see Pachelbel's Canon. cantabile or cantando In a singing style. In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena
The double variation (also known as alternating variations) is a musical form used in classical music.It is a type of theme and variations that employs two themes. In a double variation set, a first theme (to be called A here) is followed by a second theme (B), followed by a variation on A, then a variation on B, and so on with alternating A and B variations.
Theme and variations – Form where a main theme is followed by a series of variations that alter its melody, harmony, rhythm, or timbre. Double variation – Composition where two themes are alternated and varied. Threnody – Song composed as a memorial to a dead person.
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
In musical composition, developing variation is a formal technique in which the variations are produced through the development of existing material. The term was coined by Arnold Schoenberg, twentieth-century composer and inventor of the twelve-tone technique, who believed it was one of the most important compositional principles since around 1750: [1]
The Geistervariationen (Ghost Variations), or Theme and Variations in E-flat major for piano, WoO 24, composed in 1854, is the last piano work of Robert Schumann.The variations were composed in the time leading up to his admission to an asylum for the insane and are infrequently played or recorded today.