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Counter Melody
In music, (German for ''primary voice'') or is the main voice, chief part; i.e., the contrapuntal or melodic line of primary importance, in opposition to . (German for ''secondary voice'') or is the secondary part; i.e., a secondary contrapuntal or melodic part, always occurring simultaneously with, and subsidiary to, the . The practice of marking the primary voice within the musical score/parts was invented by Arnold Schoenberg. The terms are used primarily by Arnold Schoenberg, Alban Berg, and Anton Webern, but are not uncommon in scores for string quartet. They are commonly indicated in musical scores with the marks "H" and "N". When the "primary voice" ends in one instrument/staff/part, it may be marked with a closing bracket (such as ¬ ) at the point where it passes to another instrument/staff/part. Further contrapuntal lines or material may be considered accompaniment. Other examples of the terms' use include lead and back up vocals, melody and counter-melody. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schoenberg - Fourth String Quartet - Hauptstimme & Nebenstimme Mm
Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. As a Jewish composer, Schoenberg was targeted by the Nazi Party, which labeled his works as degenerate music and forbade them from being published. He immigrated to the United States in 1933, becoming an American citizen in 1941. Schoenberg's approach, bοth in terms of harmony and development, has shaped much of 20th-century musical thought. Many composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erich Leinsdorf
Erich Leinsdorf (born Erich Landauer; February 4, 1912 – September 11, 1993) was an Austrian-born American conductor. He performed and recorded with leading orchestras and opera companies throughout the United States and Europe, earning a reputation for exacting standards as well as an acerbic personality. He also published books and essays on musical matters. Biography Leinsdorf was born to a Jewish family in Vienna, and was studying music at a local school by the age of 5. He played the cello and studied composition. In his teens, Leinsdorf worked as a piano accompanist for singers. He studied conducting at the Mozarteum in Salzburg, and later at the University of Vienna and the Vienna Academy of Music. From 1934 to 1937 he worked as an assistant to the noted conductors Bruno Walter and Arturo Toscanini at the Salzburg Festival. In November 1937, Leinsdorf travelled to the United States to take up a position as assistant conductor at the Metropolitan Opera in New Yor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythm
Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years. Rhythm is related to and distinguished from pulse, meter, and beats: In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language and poetry. In some performing arts, such as hip hop music, the rhythmic delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as "timed mov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hauptrhythmen
In music, (German for ''primary voice'') or is the main melody, voice, chief part (music), part; i.e., the counterpoint, contrapuntal or melodic line of primary importance, in opposition to . (German for ''secondary voice'') or is the secondary part; i.e., a secondary contrapuntal or melodic part, always occurring simultaneously with, and subsidiary to, the . The practice of marking the primary voice within the musical score/parts was invented by Arnold Schoenberg. The terms are used primarily by Arnold Schoenberg, Alban Berg, and Anton Webern, but are not uncommon in scores for string quartet. They are commonly indicated in Sheet music, musical scores with the marks "H" and "N". When the "primary voice" ends in one instrument/staff/part, it may be marked with a closing bracket (such as ¬ ) at the point where it passes to another instrument/staff/part. Further contrapuntal lines or material may be considered accompaniment. Other examples of the terms' use include lead voc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hauptrhythmus
In music, (German for ''primary voice'') or is the main voice, chief part; i.e., the contrapuntal or melodic line of primary importance, in opposition to . (German for ''secondary voice'') or is the secondary part; i.e., a secondary contrapuntal or melodic part, always occurring simultaneously with, and subsidiary to, the . The practice of marking the primary voice within the musical score/parts was invented by Arnold Schoenberg. The terms are used primarily by Arnold Schoenberg, Alban Berg, and Anton Webern, but are not uncommon in scores for string quartet. They are commonly indicated in musical scores with the marks "H" and "N". When the "primary voice" ends in one instrument/staff/part, it may be marked with a closing bracket (such as ¬ ) at the point where it passes to another instrument/staff/part. Further contrapuntal lines or material may be considered accompaniment. Other examples of the terms' use include lead and back up vocals, melody and counter-melody. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Backup Singer
A backing vocalist is a singer who provides vocal harmony with the lead vocalist or other backing vocalists. A backing vocalist may also sing alone as a lead-in to the main vocalist's entry or to sing a counter-melody. Backing vocalists are used in a broad range of popular music, traditional music, and world music styles. Solo artists may employ professional backing vocalists in studio recording sessions as well as during concerts. In many rock and metal bands (e.g., the power trio), the musicians doing backing vocals also play instruments, such as guitar, electric bass, drums or keyboards. In Latin or Afro-Cuban groups, backing singers may play percussion instruments or shakers while singing. In some pop and hip hop groups and in musical theater, they may be required to perform dance routines while singing through headset microphones. Styles of background vocals vary according to the type of song and genre of music. In pop and country songs, backing vocalists may sing harmon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barbershop Music
Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voices. Occasional passages may be sung by fewer than four voice parts. Barbershop music is generally performed by either a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Countersubject
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] |
David Wallis Reeves
David Wallis Reeves (February 14, 1838 – March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March".James Cutler Chesebrough, "The marches of David Wallis Reeves: Performance editions of three marches dedicated to Connecticut organizations" (January 1, 2005). ''Dissertations Collection for University of Connecticut''. Paper AAI3180191. http://digitalcommons.uconn.edu/dissertations/AAI3180191 Charles Ives also borrowed from the "Second Connecticut" on four occasions. Biography Reeves was born on February 14, 1838, in Oswego, New York. In the early 1850s, he joined the Oswego band as an alto ho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French Horn
The French horn (since the 1930s known simply as the horn in professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular. A musician who plays a horn is known as a list of horn players, horn player or hornist. Pitch is controlled through the combination of the following factors: speed of air through the instrument (controlled by the player's lungs and thoracic diaphragm); diameter and tension of lip aperture (by the player's lip muscles—the embouchure) in the mouthpiece; plus, in a modern horn, the operation of Brass instrument valve, valves by the left hand, which route the air into extra sections of tubing. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves (similar to a trumpet's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trombone
The trombone (german: Posaune, Italian, French: ''trombone'') is a musical instrument in the Brass instrument, brass family. As with all brass instruments, sound is produced when the player's vibrating lips cause the Standing wave, air column inside the instrument to vibrate. Nearly all trombones use a telescoping slide mechanism to alter the Pitch (music), pitch instead of the brass instrument valve, valves used by other brass instruments. The valve trombone is an exception, using three valves similar to those on a trumpet, and the superbone has valves and a slide. The word "trombone" derives from Italian ''tromba'' (trumpet) and ''-one'' (a suffix meaning "large"), so the name means "large trumpet". The trombone has a predominantly cylindrical bore like the trumpet, in contrast to the more conical brass instruments like the cornet, the euphonium, and the French horn. The most frequently encountered trombones are the tenor trombone and bass trombone. These are treated as trans ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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