|
Interpolation (classical Music)
For music of the Classical period, "interpolation" is defined in the context of a musical sentence or period as "unrelated material inserted between two logically succeeding functions". This device is commonly used to extend what would normally be a regular phrase into an irregular and extended phrase. Such expansion by interpolation is achieved by the addition of extra music in the middle of a phrase (commonly through the use of sequence). A clear example exists in the second movement of Mozart's Piano Sonata No. 10, K.330. Formerly, in the sung portions of the Mass, such as the introit or kyrie, it was permissible, especially during the medieval period, to amplify a liturgical formula by interpolating a "farse" (from Medieval Latin ''farsa'', forcemeat), also called "trope". New Advent. This mi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Period (music)
The Classical period was an era of classical music between roughly 1750 and 1820. The Classical period falls between the Baroque and the Romantic periods. Classical music has a lighter, clearer texture than Baroque music, but a more sophisticated use of form. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, Blume, Friedrich. ''Classic and Romantic Music: A Comprehensive Survey''. New York: W. W. Norton, 1970 but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music. It also makes use of ''style galant'' which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and power. The harpsichord was replaced as the main keyboard instrument by the piano (or fortepiano). Unlike the harpsichord, which plucks str ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gigue
The gigue (; ) or giga () is a lively baroque dance originating from the English jig. It was imported into France in the mid-17th centuryBellingham, Jane"gigue."''The Oxford Companion to Music''. Ed. Alison Latham. Oxford Music Online. 6 July 2008 and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions and several court composers wrote gigues.Louis Horst, ''Pre-Classic Dance Forms'', (Princeton, NJ: Princeton Book Company, 1987), 54–60. A gigue is usually in or in one of its compound metre derivatives, such as , , or , although there are some gigues written in other metres, as for example the gigue from Johann Sebastian Bach's first ''French Suite'' (BWV 812), which is written in and has a distinctive strutting "dotted" rhythm. Gigues often have a contrapuntal texture as well as often having accents on the third beats in the bar, making the gigue a lively folk dance. In early French theatr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interpolation (popular Music)
In popular music, interpolation (also called a replayed sample) refers to using a melody—or portions of a melody (often with modified lyrics)—from a previously recorded song but re-recording the melody instead of sampling it. Interpolation is often used when the artist or label who owns the piece of music declines to license the sample, or if licensing the piece of music is considered too costly. Interpolation examples Interpolation is prevalent in many genres of popular music; early examples are the Beatles interpolating "La Marseillaise" and "She Loves You", among three other interpolations in the 1967 song "All You Need Is Love", and Lyn Collins interpolating lyrics from the 5 Royales' "Think" in her similarly titled 1972 song "Think (About It)". One genre where interpolating (as well as sampling) is highly prevalent is hip hop music; prominent examples include Stevie Wonder's "Pastime Paradise" interpolated in Coolio's hit song "Gangsta's Paradise", and Sting's " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Krzysztof Penderecki
Krzysztof Eugeniusz Penderecki (; 23 November 1933 – 29 March 2020) was a Polish composer and conductor. His best known works include ''Threnody to the Victims of Hiroshima'', Symphony No. 3, his '' St Luke Passion'', ''Polish Requiem'', ''Anaklasis'' and ''Utrenja''. Penderecki's ''oeuvre'' includes four operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works''.'' Born in Dębica, Penderecki studied music at Jagiellonian University and the Academy of Music in Kraków. After graduating from the Academy, he became a teacher there and began his career as a composer in 1959 during the Warsaw Autumn festival. His ''Threnody to the Victims of Hiroshima'' for string orchestra and the choral work ''St. Luke Passion'' have received popular acclaim. His first opera, ''The Devils of Loudun'', was not immediately successful. In the mid-1970s, Penderecki became a pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gunther Schuller
Gunther Alexander Schuller (November 22, 1925June 21, 2015) was an American composer, conductor, horn player, author, historian, educator, publisher, and jazz musician. Biography and works Early years Schuller was born in Queens, New York City, the son of German parents Elsie (Bernartz) and Arthur E. Schuller, a violinist with the New York Philharmonic. He studied at the Saint Thomas Choir School and became an accomplished French horn player and flute player. At age 15, he was already playing horn professionally with the American Ballet Theatre (1943) followed by an appointment as principal hornist with the Cincinnati Symphony Orchestra (1943–45), and then the Metropolitan Opera Orchestra in New York, where he stayed until 1959. During his youth, he attended the Precollege Division at the Manhattan School of Music, later going on to teach at the school. But, already a high school dropout because he wanted to play professionally, Schuller never obtained a degree from any in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Technique
Musical technique is the ability of instrumental and vocal musicians to exert optimal control of their instruments or vocal cords in order to produce the precise musical effects they desire. Improving one's technique generally entails practicing exercises that improve one's muscular sensitivity and agility. Technique is independent of musicality. Compositional technique is the ability and knowledge composers use to create music, and may be distinguished from instrumental or performance technique, which in classical music is used to realize compositions, but may also be used in musical improvisation. Extended techniques are distinguished from more simple and more common techniques. Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre, articulation, and musical phrasing are nearly universal to all inst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Idea (music)
In music, a motif IPA: ( /moʊˈtiːf/) (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity". The ''Encyclopédie de la Pléiade'' regards it as a "melodic, rhythmic, or harmonic cell", whereas the 1958 ''Encyclopédie Fasquelle'' maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'figur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called 'monothematic', while music based on several themes is ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aspect Of Music
Music can be musical analysis, analysed by considering a variety of its elements, or parts (aspects, characteristics, features), individually or together. A commonly used list of the main elements includes Pitch (music), pitch, timbre, Texture (music), texture, Dynamics (music), volume, Duration (music), duration, and Musical form, form. The elements of music may be compared to the elements of art or design elements and principles, design. Selection of elements According to Howard Gardner, Howard, there is little dispute about the principal constituent elements of music, though experts differ on their precise definitions. Harold Owen bases his list on the qualities of sound: pitch, timbre, intensity, and duration while John Castellini excludes duration. Gordon C. Bruner II follows the line of temporal-based deductions in association with musical composition, denoting music's primary components as "time, pitch, and texture." Most definitions of music include a reference to sound a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
20th-century Classical Music
20th-century classical music describes art music that was written nominally from 1901 to 2000, inclusive. Musical style diverged during the 20th century as it never had previously. So this century was without a dominant style. Modernism, impressionism, and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period. Neoclassicism and expressionism came mostly after 1900. Minimalism started much later in the century and can be seen as a change from the modern to post-modern era, although some date post-modernism from as early as about 1930. Aleatory, atonality, serialism, '' musique concrète'', electronic music, and concept music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century. History At the turn of the century, music was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passepied
The passepied (, "pass-foot", from a characteristic dance step) is a French court dance. Originating as a kind of Breton branle, it was adapted to courtly use in the 16th century and is found frequently in 18th-century French opera and ballet, particularly in pastoral scenes, and latterly also in baroque instrumental suites of dances. In English the passepied has been spelled "paspy" as well as "paspie" or "paspe", phonetic approximations of the French pronunciation. History The earliest historical mention of the passepied was by Noël du Fail in 1548, who said it was common at Breton courts. François Rabelais and Thoinot Arbeau, writing later in the 16th century, identify the dance as a type of branle characteristic of Brittany. At this time it was a fast duple-time dance with three-bar phrases, therefore of the ''branle simple'' type. Like many folk-dances it was popular at the court of Louis XIV. The passepied was remodelled by Jean-Baptiste Lully as a pastoral concert da ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minuet
A minuet (; also spelled menuet) is a social dance of French origin for two people, usually in time. The English word was adapted from the Italian ''minuetto'' and the French ''menuet''. The term also describes the musical form that accompanies the dance, which subsequently developed more fully, often with a longer musical form called the minuet and trio, and was much used as a movement in the early classical symphony. Dance The name may refer to the short steps, ''pas menus'', taken in the dance, or else be derived from the ''branle à mener'' or ''amener'', popular group dances in early 17th-century France. The minuet was traditionally said to have descended from the ''bransle de Poitou'', though there is no evidence making a clear connection between these two dances. The earliest treatise to mention the possible connection of the name to the expression ''pas menus'' is Gottfried Taubert's ''Rechtschaffener Tantzmeister'', published in Leipzig in 1717, but this source ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.png "Click for more on -> Minuet")