In the following passage from a Ricercar by Andrea Gabrieli, the instruments at first imitate at a distance of two beats. Imitation featured in both instrumental and vocal music of the Renaissance. Now, thanks to the power of AI, Samplab puts this functionality into a free plugin (opens in new tab). Then Melodyne’s Direct Note Access technology came along, providing exactly that kind of functionality. In pop music a much clichéd form of imitation consists of a background choir repeating – usually the last notes – of the lead singer's last line. Not so long ago, the idea that you’d one day be able to edit the individual notes in a polyphonic audio sample seemed like a pipedream. A more improvisatory form of imitation can be found in Arab and Indian vocal music where the instrumentalist may accompany the vocalist in a vocal improvisation with imitation. In European classical music, imitative writing was featured heavily in the highly polyphonic compositions of the Renaissance and Baroque eras. (Even if there is only one melody, if different people are singing or playing it at different times, the parts sound independent. Rounds, canons, and fugues are all polyphonic. A short phrase treated imitatively is called an attacco. If more than one independent melody is occurring at the same time, the music is polyphonic. #POLYPHONIC MUSIC EXAMPLES SERIES#The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal composition." In counterpoint, imitation occurs in a second voice, usually at a different pitch. Case Study 2 Moro Lasso (Carlo Gesualdo) In his madrigal Moro Lasso, Gesualdo used vivid contrasts between homophonic and polyphonic textures, chromatic versus diatonic materials, major versus minor mode, consonant versus dissonant passages, and simple versus complex texture.
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