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Prelude Listening to Music Today
1 Melody: Musical Line
2 Rhythm and Meter: Musical Time
3 Harmony: Musical Space
4 The Organization of Musical Sounds
5 Musical Texture
6 Musical Form
7 Musical Expression: Tempo and Dynamics
8 Voices and Musical Instrument Families
9 Western Musical Instruments
10 Musical Ensembles
11 Style and Function of Music in Society
12 The Culture of the Middle Ages
13 Medieval Music
14 The Renaissance Spirit
15 Renaissance Sacred Music
16 Renaissance Secular Music
17 The Baroque Spirit
18 Vocal Music of the Baroque
19 Orchestral Music of the Baroque
20 Baroque Keyboard Music
21 The Classical Spirit
22 The Development of Classical Forms
23 The Classical Symphony
24 The Classical Concerto and Sonata
25 Classical Opera
26 The Spirit of Romanticism
27 The Romantic Miniature
28 Romantic Program Music
29 Romantic Opera
30 The Late Romantics
31 America's Emerging Musical Voice
32 The Impressionist Era
33 Main Currents in Early-Twentieth-Century Music
34 Early-Twentieth-Century Innovators
35 Nationalism and Music
36 Ragtime, Blues, and Jazz
37 New Directions
38 Contemporary Composers Look to World Music
39 Music for the Stage and Screen
40 The Many Voices of Rock
41 Some Current Trends

Chapter 5: Musical Texture

Study Plan

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"The composer . . . joins Heaven and Earth with threads of sound." —ALAN HOVHANESS

Key Points

  • Texture refers to the interweaving of the melodic lines with harmony in music.
  • The simplest texture is monophony, or single-voiced music without accompaniment.
  • Heterophony refers to multiple voices elaborating the same melody at the same time.
  • Polyphony describes a many-voiced texture based on counterpoint—one line set against another.
  • Homophony occurs when one melodic voice is prominent over the accompanying lines, or voices.
  • Imitation—when a melodic idea is presented in one voice, then restated in another—is a common unifying technique in polyphony; canons and rounds are two types of strictly imitative works.

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