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Fugues
In classical music, a fugue (, from Latin ''fuga'', meaning "flight" or "escape""Fugue, ''n''." ''The Concise Oxford English Dictionary'', eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). ) is a contrapuntal, polyphonic 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), which recurs frequently throughout 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. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercare A 6 From The Musical Offering
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance music, Renaissance and mostly early Baroque music, Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb , which means "to search out; to seek"; many ricercars serve a Prelude (music), preludial function to "search out" the key (music), key or Mode (music), mode of a following piece. A ricercar may explore the permutations of a given motif (music), motif, and in that regard may follow the piece used as illustration. The term is also used to designate an étude, etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are the two for harpsichord contained in Johann Sebastian Bach, Bach's ''The Musical Of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recapitulation (music)
In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition. This material is most often recapitulated in the tonic key of the movement, in such a way that it reaffirms that key as the movement's home key. In some sonata form movements, the recapitulation presents a straightforward image of the movement's exposition. However, many sonata form movements, even early examples, depart from this simple procedure. Devices used by composers include incorporating a secondary development section, or varying the character of the original material, or rearranging its order, or adding new material, or omitting material altogether, or overlaying material that was kept separate in the exposition. The composer of a sonata form movement may disguise the start of the recapitulation as an extension of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical ''capriccio'' is one that is fast, intense, and often virtuoso, virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of Madrigal (music), madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions.Erich Schwandt, Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (musicologist), John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercar
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb , which means "to search out; to seek"; many ricercars serve a preludial function to "search out" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are the two for harpsichord contained in Bach's '' The Musical Offering'' and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Encyclopædia Britannica
The is a general knowledge, general-knowledge English-language encyclopaedia. It has been published by Encyclopædia Britannica, Inc. since 1768, although the company has changed ownership seven times. The 2010 version of the 15th edition, which spans 32 volumes and 32,640 pages, was the last printed edition. Since 2016, it has been published exclusively as an online encyclopedia, online encyclopaedia. Printed for 244 years, the ''Britannica'' was the longest-running in-print encyclopaedia in the English language. It was first published between 1768 and 1771 in Edinburgh, Scotland, in three volumes. The encyclopaedia grew in size; the second edition was 10 volumes, and by its fourth edition (1801–1810), it had expanded to 20 volumes. Its rising stature as a scholarly work helped recruit eminent contributors, and the 9th (1875–1889) and Encyclopædia Britannica Eleventh Edition, 11th editions (1911) are landmark encyclopaedias for scholarship and literary ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oxford University Press
Oxford University Press (OUP) is the publishing house of the University of Oxford. It is the largest university press in the world. Its first book was printed in Oxford in 1478, with the Press officially granted the legal right to print books by decree in 1586. It is the second-oldest university press after Cambridge University Press, which was founded in 1534. It is a department of the University of Oxford. It is governed by a group of 15 academics, the Delegates of the Press, appointed by the Vice Chancellor, vice-chancellor of the University of Oxford. The Delegates of the Press are led by the Secretary to the Delegates, who serves as OUP's chief executive and as its major representative on other university bodies. Oxford University Press has had a similar governance structure since the 17th century. The press is located on Walton Street, Oxford, Walton Street, Oxford, opposite Somerville College, Oxford, Somerville College, in the inner suburb of Jericho, Oxford, Jericho. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Kennedy (music Critic)
George Michael Sinclair Kennedy CBE (19 February 1926 – 31 December 2014) was an English music critic and author who specialized in classical music. For nearly two decades he was the chief classical music critic for both ''The Daily Telegraph'' (1986–2005) and ''The Sunday Telegraph'' (1989–2005). A prolific writer, he was the biographer of many composers and musicians, including Vaughan Williams, Elgar, Barbirolli, Mahler, Strauss, Britten, Boult and Walton. Other notable publications include writings on various musical institutions, the editing of music dictionaries as well as numerous articles for ''The New Grove Dictionary of Music and Musicians'' and the subsequent ''Grove Music Online''. Life and career On 19 February 1926 Kennedy was born in Chorlton-cum-Hardy, Manchester, and attended Berkhamsted School. On 17 November 1941, he joined the Manchester office of ''Daily Telegraph'' at age 15, as a tea boy. In his youth, Kennedy auditioned for a role in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda (; ; plural ) is a passage (music), passage that brings a piece (or a movement (music), movement) to an end. It may be as simple as a few bar (music), measures, or as complex as an entire section (music), section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and Variation (music), variation movements during the Classical era. In a sonata form movement, the recapitulation (music), recapitulation section will, in general, follow the exposition (music), exposition in its thematic content, while adhering to the home key (music), key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last va ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Closely Related Key
In music, a closely related key (or close key) is one sharing many common tones with an original key, as opposed to a distantly related key (or distant key). In music harmony, there are six of them: four of them share all the pitches except one with a key with which it is being compared, one of them shares all the pitches, and one shares the same tonic. Such keys are the most commonly used destinations or transpositions in a modulation,Schonbrun, Marc (2006). ''The Everything Music Theory Book'', p.76. . because of their strong structural links with the home key. Distant keys may be reached sequentially through closely related keys by chain modulation, for example, C to G to D. For example, "One principle that every composer of Haydn's day Classical music era">lassical_period_(music).html" ;"title="/nowiki>Classical period (music)">Classical music era/nowiki> kept in mind was over-all unity of tonality. No piece dared wander too far from its tonic (music), tonic key, and n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Part (music)
A part in music refers to a component of a musical composition. Because there are multiple ways to separate these components, there are several contradictory senses in which the word "part" is used: * any individual melody (or voice), whether vocal or instrumental, that can be abstracted as continuous and independent from other notes being performed simultaneously in polyphony. Within the music played by a single pianist, one can often identify outer parts (the top and bottom parts) or an inner part (those in between). On the other hand, within a choir, "outer parts" and "inner parts" would refer to music performed by different singers. (See ) * the musical instructions for any individual instrument or voice (often given as a handwritten, printed, or digitized document) of sheet music (as opposed to the full score which shows all parts of the ensemble in the same document). A musician's part usually does not contain instructions for the other players in the ensemble, only ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
