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Pervading Imitation
Pervading imitation refers to a way of organizing a piece of music in which all voices sing the same melodic material in sequence. Voices enter one by one at points of imitation and sing the same melodic material although they begin at different pitch levels. Pervading imitation emerged in the early Renaissance and was widely used by composers like Josquin in ''Missa pange lingua'', and Thomas Crecquillon. See also * Round (music) * Voice crossing * Voice exchange In music, especially Schenkerian analysis, a voice exchange (german: Stimmtausch; also called voice interchange) is the repetition of a contrapuntal passage with the voices' parts exchanged; for instance, the melody of one part appears in a second ... Melody Polyphonic form {{Music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, counte ... [...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] |
Melody
A melody (from Greek language, Greek μελῳδία, ''melōidía'', "singing, chanting"), also tune, voice or line, is a Linearity#Music, linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch (music), pitch and rhythm, while more figuratively, the term can include other musical elements such as Timbre, tonal color. It is the foreground to the background accompaniment. A line or part (music), part need not be a foreground melody. Melodies often consist of one or more musical Phrase (music), phrases or Motif (music), motifs, and are usually repeated throughout a musical composition, composition in various forms. Melodies may also be described by their melodic motion or the pitches or the interval (music), intervals between pitches (predominantly steps and skips, conjunct or disjunct or with further restrictions), pitch range, tension (music), tension and release, continuity and coheren ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sequence (music)
In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice.Benward and Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.111-12. Seventh Edition. . It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music ( Classical period and Romantic music). Characteristics of sequences: *Two segments, usually no more than three or four *Usually in only one direction: continuingly higher or lower *Segments continue by same interval distance It is possible for melody or harmony to form a sequence without the other participating. There are many types of sequences, each with a unique pattern. Listed below are some examples. Melodic sequences In a melody, a real sequence is a sequence where the subsequent segments are exact transpositions of the first segment, while a tonal sequence is a sequence where the subsequent segments are diatonic ... [...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] |
Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century '' ars nova'', the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the ' ''contenance angloise'' ' style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410's or 20's – 1497) and Josquin des Prez (late 1450's – 1521), and culminating during the Counter-Reformation in the florid counterpoint of Palest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Josquin
Josquin Lebloitte dit des Prez ( – 27 August 1521) was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors Guillaume Du Fay and Johannes Ockeghem, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy melismatic lines on a single syllable, preferring to use shorter, repeated motifs between voices. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons. Josquin's biography has been continually revised by modern scholarship, and remains highly ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas Crecquillon
Thomas Crecquillon or Créquillon ( – probably early 1557) was a Franco-Flemish school composer of the Renaissance. While his place of birth is unknown, it was probably within the region loosely known at the time as the Low Countries, and he probably died at Béthune. Biography Very little is known about his early life. He was a priest and a member of the chapel of Emperor Charles V, but whether he was ''maître de chapelle'' or merely a singer is still a matter of dispute; the surviving documents are contradictory. Later he seems to have held positions at Dendermonde, Béthune, Leuven, and Namur. Unlike many of the composers of the Franco-Flemish school, he seems never to have left his home region for Italy or other parts of Europe. Crecquillon was retired by 1555, and most likely he died in 1557, probably a victim of the serious outbreak of the plague in Béthune that year. The location of his burial remains a mystery, and no likeness of Crecquillon is known to exist. Crecqui ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Round (music)
A round (also called a perpetual canon 'canon perpetuus''or infinite canon) is a musical composition, a limited type of canon, in which a minimum of three voices sing exactly the same melody at the unison (and may continue repeating it indefinitely), but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together. It is one of the easiest forms of part singing, as only one line of melody need be learned by all parts, and is part of a popular musical tradition. They were particularly favoured in glee clubs, which combined amateur singing with regular drinking. The earliest known rounds date from 12th century Europe. One characteristic of rounds is that, "There is no fixed ending," in the sense that they may be repeated as many times as possible, although many do have "fixed" endings, often indicated by a fermata. "Row, Row, Row Your Boat" is a well-known children's round f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Crossing
In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices,Edgar W. Williams, Jr., ''Harmony and Voice Leading'', New York: Harper Collins, 1992, 63. it is sometimes avoided in composition and pedagogical exercises. History Voice crossing appears in free organum, with examples appearing as early as John Cotton's treatise '' De musica'' (1100). Voice crossing is inherent in voice exchange, which became an important compositional technique in the 12th and 13th centuries. Later, as different voices were thought of occupying more distinct vocal ranges, crossing is less frequent. In the 15th-century English discant style, such as in the Old Hall manuscript, the three voices rarely cross. In the three-part music of Guillaume Dufay, a special use of voice crossing at the cadence involves a Landini caden ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Exchange
In music, especially Schenkerian analysis, a voice exchange (german: Stimmtausch; also called voice interchange) is the repetition of a contrapuntal passage with the voices' parts exchanged; for instance, the melody of one part appears in a second part and vice versa. It differs from invertible counterpoint in that there is no octave displacement; therefore it always involves some voice crossing. If scored for equal instruments or voices, it may be indistinguishable from a repeat, although because a repeat does not appear in any of the parts, it may make the music more interesting for the musicians.Donald J. Grout and Claude Palisca, ''A History of Western Music'', 5th ed., New York: Norton, 1996, 86. It is a characteristic feature of rounds, although not usually called such.Willi Apel, Harvard Dictionary of Music, Cambridge: Harvard University Press, 1972, p. 920. Patterns of voice exchange are sometimes schematized using letters for melodic patterns.Apel, 919. A double voice exc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody
A melody (from Greek language, Greek μελῳδία, ''melōidía'', "singing, chanting"), also tune, voice or line, is a Linearity#Music, linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch (music), pitch and rhythm, while more figuratively, the term can include other musical elements such as Timbre, tonal color. It is the foreground to the background accompaniment. A line or part (music), part need not be a foreground melody. Melodies often consist of one or more musical Phrase (music), phrases or Motif (music), motifs, and are usually repeated throughout a musical composition, composition in various forms. Melodies may also be described by their melodic motion or the pitches or the interval (music), intervals between pitches (predominantly steps and skips, conjunct or disjunct or with further restrictions), pitch range, tension (music), tension and release, continuity and coheren ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
