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Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice (music)
A part (or voice) generally refers to a single strand or melody or harmony of music within a larger ensemble or a polyphonic musical composition. There are several senses in which the word is often used: * the physical copy of printed or written sheet music given to any individual instrument or voice (as opposed to the full score which shows all parts in the same document). A musician's part usually does not contain instructions for the other players in the ensemble, only instructions for that individual. * the music played by any group of musicians who all perform in unison for a given piece; in a symphony orchestra, a dozen or more cello players may all play "the same part" even if they each have their own physical copy of the music. This sense of "part" does not require a written copy of the music; a bass player in a rock band "plays the bass part" even if there is no written version of the song. * any individual melody that can be abstracted as continuous and independent fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Part (music)
A part (or voice) generally refers to a single strand or melody or harmony of music within a larger ensemble or a polyphonic musical composition. There are several senses in which the word is often used: * the physical copy of printed or written sheet music given to any individual instrument or voice (as opposed to the full score which shows all parts in the same document). A musician's part usually does not contain instructions for the other players in the ensemble, only instructions for that individual. * the music played by any group of musicians who all perform in unison for a given piece; in a symphony orchestra, a dozen or more cello players may all play "the same part" even if they each have their own physical copy of the music. This sense of "part" does not require a written copy of the music; a bass player in a rock band "plays the bass part" even if there is no written version of the song. * any individual melody that can be abstracted as continuous and independent fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantasia (music)
A fantasia (; also English language, English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', german: Fantasie, ''Phantasie'', french: fantaisie) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most impo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Medieval music, Middle Ages, Renaissance music, Renaissance, and Baroque music, Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercare A 6 From The Musical Offering
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb which means 'to search out; to seek'; many ricercars serve a preludial function to "search out" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are — for harpsichord — the two contained in Bach's ''Musical Offering'', and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Development (music)
In music, development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material. Development is often contrasted with musical variation, which is a slightly different means to the same end. ''Development'' is carried out upon portions of material treated in many ''different'' presentations and combinations at a time, while ''variation'' depends upon ''one'' type of presentation at a time. In this process, certain central ideas are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see irony), which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercar
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb which means 'to search out; to seek'; many ricercars serve a preludial function to "search out" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are — for harpsichord — the two contained in Bach's ''Musical Offering'', and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Jakob Froberger
Johann Jakob Froberger ( baptized 19 May 1616 – 7 May 1667) was a German Baroque composer, keyboard virtuoso, and organist. Among the most famous composers of the era, he was influential in developing the musical form of the suite of dances in his keyboard works. His harpsichord pieces are highly idiomatic and programmatic. Only two of Froberger's many compositions were published during his lifetime. Froberger forbade publication of his manuscripts, restricting access to his noble patrons and friends, particularly the Württembergs and Habsburgs who had the power to enforce these restrictions. After his death the manuscripts went to his patroness Sibylla, Duchess of Württemberg (1620–1707) and the music library of the Württemberg family estate. Life 1616–1634: Early years in Stuttgart Johann Jakob Froberger was baptized on 19 May 1616 in Stuttgart. The exact date of his birth is unknown. His family came from Halle, where his grandfather Simon livedSchott, Grove and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
