Texture (music)

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In music, texture is how tempo, melody, and harmonic materials are combined in the composition, thus determining the overall sound quality in a work. Texture is often described in terms of density, or thickness, and range, or width, between lowest and highest pitch, in relative terms and more specifically distinguished by the number of sounds, or parts, and relationships between these sounds. (see Common types below). For example, thick textures contain many 'layers' of instruments. One of these layers can be a string part, or another brass. The thickness is also altered by the amount and the wealth of the instrument plays the pieces. The thickness varies from light to thick. The texture of a piece can be changed by the number and character of the part being played at once, the timbre of the instrument or sound that plays these parts and the harmony, tempo, and rhythm used (Benward & Saker 2003,). Types categorized by number and part relations are analyzed and determined by labeling of major texture elements: primary melody (PM), secondary melody (SM), parallel melody support (PSM), static support (SS), harmonic support (HS)), support rhythmic (RS), and harmonic and rhythmic support (HRS) (Isaac & Russell 2003, p.Ã, 136).

Video Texture (music)

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In musical terms, especially in the areas of music history and musical analysis, some of the common terms for different types of textures are:

Many classic pieces display different types of textures in no time. An example is Scherzo from Schubert's piano sonata in B major, D575. The first four bars are monophonic, with both hands performing the same melody of a separate octave:

Bar 5-10 homophonic, with all sounds coinciding rhythmically:

Bar 11-20 is polyphonic. There are three parts, the top two moving in parallel (tenth interval). The lowest part imitates the two upper rhythms at a distance of three beats. This section climaxes suddenly with the silence of a bar:

After the silence, polyphonic textures expand from three to four independent parts simultaneously moving on bar 21-4. The top two is an imitation, the lowest part consisting of a recurrent note (the point of the pedal) and the remaining part binding an independent melody line:

The last four bars return to the homophonies, bringing the passage closer;

Complete performance can be heard by following this link: Listen

Maps Texture (music)

Additional types

Although in music instruction a particular style or music repertoire is often identified with one of these basically added musical descriptions (eg, the Gregorian chant is described as monophonic, Bach Chorales is described as homophonic and fugues as polyphonic), many composers use more than one type of texture in the same piece of music.

Convergence is more than a complete musical texture that happens at the same time, rather than successively.

The newer type of texture first used by GyÃÆ'¶rgy Ligeti is micropolyphony. Other textures include polythematic texture, polyrhythmic, onomatopoeic, compound, and mixed or composite (Corozine 2002, p.Ã, 34).

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See also

• Style brisÃÆ'Â ©

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References

Bened, Bruce, and Marilyn Nadine Saker (2003). Music: In Theory and Practice , seventh edition, vol. 1. Boston: McGraw-Hill. ISBN: 978-0-07-294262-0.

Corozine, Vince (2002). Organize Music for the Real World: Classical and Commercial Aspects . Pacific, MO: Mel Bay. ISBNÃ, 0-7866-4961-5. OCLCÃ, 50470629.

Hanning, Barbara Russano, Concise History of Western Music , based on Donald Jay Grout & amp; Claudia V. Palisca's A History of Western Music , Fifth Edition. Published by W. W. Norton & amp; Company, New York, Copyright 1998. ISBNÃ, 0-393-97168-6.

Isaac, and Russell (2003)..

Kliewer, Vernon (1975). "Melody: Linear Aspect of Music of the Twentieth Century". In the Twentieth-Century Music , edited by Gary Wittlich, pp.Ã, 270-301. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN: 0-13-049346-5.

Kokoras, Panayiotis (2005). Towards a Holophonic Music Texture . In Proceedings of ICMC2005 - International Computer Music Conference ,. Barcelona: International Computer Music Conference.

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Further reading

• Anon.: "Monophony", Grove Music Online , edited by Deane L. Root (accessed August 1, 2015) (subscription required) .
• Copland, Aaron. (1957). What's Listening to Music , revised edition. New York: McGraw-Hill Book Company, Inc.
• Demuth, Norman. 1964. Musical Form and Texture: Reference Guide , second edition. London: Barrie and Rockliff.
• Frobenius, Wolf, Peter Cooke, Caroline Bithell, and Izaly Zemtsovsky: "Polyphony ', Grove Music Online edited by Deane Root (accessed August 1, 2015) (subscription required) .
• Hyer, Brian: "Homophony", Grove Music Online , edited by Deane Root (accessed August 1, 2015) (subscription required) .
• Lock, Ivor. 1961. Music Texture: From Purcell to Brahms . London: D. Dobson.
• Mailman, Joshua B. 2014. "Trajectories, Materials, Processes and Flows in Robert Morris String Quartet Arc ". New Music Perspective 52, no. 2: 249-83.
• White, John David. 1995. Theories of Music Texture in Western History . Perspective in Music Criticism and Theory 1; Garland Reference Library of the Humanities 1678. New York: Garland Publishers.

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External links

• Guide to Music Textures with rich media

Source of the article : Wikipedia