Chapter 5 Musical Texture. Texture Melodic lines may be thought of as the various threads that make...
Transcript of Chapter 5 Musical Texture. Texture Melodic lines may be thought of as the various threads that make...
Chapter 5
Musical Texture
Texture
• Melodic lines may be thought of as the various threads that make up the musical fabric or the texture.– Monophony – mono (single)– Heterophony – Melody combined with an ornamented (decorated
version of itself). Jazz is a great example of this; heterophony can be heard when improvisation (making it up on the spot) takes place.
– Polyphony – poly (many) (also called “counterpoint” – note against note)
– Homophony – There is one line that gets the listeners attention – probably the texture of your favorite song; most prevalent today.
– Homorhythm – When the voices move at exactly the same time.
Texture
• Imitation – When a melody is heard in one voice and then restated in another.
• Types of music:– Canon – A strictly
imitative work. One voice imitates the other.
– Round – Same thing – a good example is Row, Row, Row Your Boat.(See page 28)
Chapter 6 – Musical Form(the music’s structure of shape)
• Basic elements –– Repetition
• Strophic form – when the same melody is used but with different words.
– Contrast– Variation -- When the
music changes a bit, but you can still recognize the tune, although perhaps notes are added to decorate it.
• The Structure –– Binary (bi means two)
• Two-part form• AB
– Ternary (three)• Three-part form
– Through composed• Just keeps on going with
no repetition of anything recognizable – all the way through.
The Building Blocks• Theme – a tune that you can
sing.• Motive – a very short tune (like
Beethoven’s Fifth Symphony opening—it’s only four notes)
• Thematic Development – taking one idea and expanding it.
• Sequence – A way to use a theme, by stating it once, and then stating it again, but a little higher or lower.
Land where my father’s diedLand of the pilgrim’s pride
• Call and Response or responsorial – where a leader sings something and a chorus “responds.” Often used in churches.
• Ostinato -- Comes from the words “obstinate.” A stubborn pattern that is repeated over and over. Sometimes it is a bass line; sometimes it is just harmonies – the repetition of the same chords over and over.
• Movement – Many pieces are lengthy like orchestral symphonies. These are usually divided up into smaller units, or movements.