In
music,
texture is the overall quality of sound of a
piece, most often indicated by the number of
voices in the music and by the relationship between these voices (see
types of texture below). A piece's texture may be further described using terms such as "thick" and "light", "rough" or "smooth". For example,
Aaron Copland's more popular pieces are described as having an "open" texture. The perceived texture of a piece can be affected by the number and character of parts playing at once, the
timbre of the instruments or voices playing these parts and the
harmony,
tempo, and
rhythms used.
Types of texture
In musicology, particularly in the fields of
music history and
music analysis, some common terms for different types of texture are:
- Monophonic - one melodic voice without harmonic accompaniment (although rhythmic accompaniment may be present).
- Polyphonic - multiple melodic voices which are to some extent independent from one another.
- Homophonic - multiple voices where one voice, the melody, stands out prominently and the other voices form a background of harmonic accompaniment. If all the parts have the same (or nearly the same) rhythm, then the homophonic texture can also be described as homorhythmic.
- Heterophonic - a musical texture in which the voices are different in character, moving in contrasting rhythms. The voices may play a single melody with simultaneous variations in that melody, or they may play substantially different melodies. (Heterophony can be considered a sub-category of polyphony, or an embellished/"ragged" form of monophony, or some mixture of the two).
(Hanning, 1998, and Copland).
Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions (for example,
Gregorian chant is described as monophonic,
Bach Chorales are described as homophonic and
fugues as polyphonic), many composers use more than one type of texture in the same piece of music.
A
simultaneity (music) is more than one complete musical texture occurring at the same time, rather than in
succession.
A more recent type of texture first used by
György Ligeti is
micropolyphony. Other textures include
homorhythmic,
polythematic,
polyrhythmic,
onomatopoeic, compound, and mixed or composite textures (Corozine 2002, p.34).
Sources
- Copland, Aaron. What to Listen for in Music. Published by Signet Classic, an imprint of New American Library, a division of Penguin Group (USA) Inc., 375 Hudson Street, New York, NY.
- Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects. ISBN 0-7866-4961-5.
- Hanning, Barbara Russano, Concise History of Western Music, based on Donald Jay Grout & Claudia V. Palisca's A History of Western Music, Fifth Edition. Published by W. W. Norton & Company, New York, Copyright 1998. ISBN 0-393-97168-6.
Further reading
- Hyer, Brian: 'Homophony', Grove Music Online ed. L. Macy (Accessed 24 September 2006), <http://www.grovemusic.com>
- Frobenius, Wolf: 'Polyphony', Grove Music Online ed. L. Macy (Accessed 24 September 2006), <http://www.grovemusic.com>
- 'Monophony', Grove Music Online ed. L. Macy (Accessed 24 September 2006), <http://www.grovemusic.com>
External links
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Musical composition is a phrase used in a number of contexts, the most commonly used being a piece of music. It is also used, however, to refer the structure of a musical piece and to the process of creating or orchestrating a new piece of music.
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melody, also tune, voice, or line, is a series of linear events or a succession, not a simultaneity as in a chord (see harmony). However, this succession must contain change of some kind and be perceived as a single entity (possibly Gestalt) to be called a
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Aaron Copland (November 14 1900 – December 2 1990) was an American composer of concert and film music, as well as an accomplished pianist. Instrumental in forging a distinctly American style of composition, he was widely known as “the dean of American composers.
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In music, timbre, or sometimes timber, (from Fr. timbre; IPA /'tæmbəɹ/ as in the first two syllables of tambourine, or /'tɪmbəɹ/, like timber)[1]
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harmony is the use and study of pitch simultaneity, and therefore chords, actual or implied, in music. The study of harmony may often refer to the study of harmonic progressions, the movement from one pitch simultaneity to another, and the structural principles that govern such
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2,2,6,6-Tetramethylpiperidine-1-oxyl or TEMPO is the chemical compound with the formula (CH2)3(CMe2)2NO. This heterocycle is a red-orange, sublimable solid.
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Rhythm (Greek ῥυθμός = 'flow', or in Modern Greek, 'style') is the variation of the length and accentuation of a series of sounds or other events.
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- This article is about the academic field of music history. For a chronological overview of music, see history of music.
The field of
music history, or sometimes
historical musicology..... Click the link for more information. Musical analysis can be defined as an attempt to answer the question how does this music work?. The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis.
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In music, monophony is the simplest of textures, consisting of melody without accompanying harmony. This may be realized as just one note at a time, or with the same note duplicated at the octave (such as often when men and women sing together).
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polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony).
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homophony (IPA [ho'mɒfəni], from Greek "homófonos", where ομοιο = the same, and φωνή = a sound, tone) is a texture in which two or more parts move together in harmony, the
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In music, homorhythm is a texture where there is a "sameness of rhythm in all parts" [1] or "very similar rhythm" as would be used in simple hymn or chorale settings [2]. Homorhythm is a condition of homophony [1].
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heterophony is a type of texture created through the simultaneous variation of a melodic line. This can refer to a kind of complex monophony in which there is only one basic melody, but realised at the same time in multiple voices, each of which play the melody differently, either
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æculorum, amen." The Latin is pronounced in the manner of Renaissance Germany, based on Åbo's German ecclesiastical connections.
Problems listening to the file? See media help
..... Click the link for more information. Johann Sebastian Bach (pronounced [ˈjoːhan zəˈbastjan bax]) (21 March 1685 O.S. – 28 July 1750 N.S.
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chorale was originally a hymn of the Lutheran church sung by the entire congregation. In casual modern usage, the term also includes classical settings of such hymns and works of a similar character.
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For the psychological term, see .
In music, a
fugue (IPA:
[fjuːg]) is a type of contrapuntal composition or technique of composition for a fixed number of parts, normally referred to as
..... Click the link for more information. In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others.
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Succession is the act or process of following in order or sequence. (It is not to be confused with secession, the act of withdrawing from an organization, union, or political entity.
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György Sándor Ligeti (IPA: [ˈɟørɟ ˈliɡɛti]) (May 28, 1923 – June 12, 2006) was a Hungarian composer born in Romania who later became an Austrian citizen.
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Micropolyphony is a type of 20th century musical texture involving the use of sustained dissonant chords that shift slowly over time. According to David Cope (1997), "a simultaneity of different lines, rhythms, and timbres.
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In music, homorhythm is a texture where there is a "sameness of rhythm in all parts" [1] or "very similar rhythm" as would be used in simple hymn or chorale settings [2]. Homorhythm is a condition of homophony [1].
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In music, a
theme is the initial or primary melody. The 1958
Encyclopédie Fasquelle defines a theme as follows:
- "Any element, motif, or small musical piece that has given rise to some variation becomes thereby a theme.
..... Click the link for more information. 123456 and 123456). However this is only useful for very simple polyrhythms, or for getting a feel for more complex ones, as the total number of beats rises quickly.
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For the supervillain, see .
Onomatopoeia (occasionally spelled
onomatopœia) is a word or a grouping of words that imitates the sound it is describing, suggesting its source object, such as "click," "buzz," or "bluuuh," or animal noises
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In music, monophony is the simplest of textures, consisting of melody without accompanying harmony. This may be realized as just one note at a time, or with the same note duplicated at the octave (such as often when men and women sing together).
..... Click the link for more information.
In music, homorhythm is a texture where there is a "sameness of rhythm in all parts" [1] or "very similar rhythm" as would be used in simple hymn or chorale settings [2]. Homorhythm is a condition of homophony [1].
..... Click the link for more information.