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Emendatio ex 10:31, 28 Aprilis 2013

Introductio Ioannis Philippi Sousae "Washington Post March," mm. 1-7

Play info duplicationem octavorum (Benward & Saker 2009) et texturam homorhythmicam vehementius sicit.

Textura in musica est modus quo res melodicae, rhythmicae, et harmonicae in compositione coniunguntur, totum rei sonum constituens. Ea saepe describitur quod attinet ad densitatem (vel crassitudinem) et coniectum, spatium inter summos infimosque tonos (Benward & Saker 2003). Exempli gratia, textura crassa nonnulla continere potest strata instrumentorum, alio strato fortasse chordarum, alio orichalcorum parte, textura satis levis, nimis stratis carens. Crassitudo, a numero et ubertate instrumentorum quae re canunt adfecta, inter naturas leves et crassas variatur. Moveri praeterea potest rei textura a numero ingenioque vocum quae una canunt, colore instrumentorum vel voces quae his partibus canunt, et harmoniis, temporibus, ac rhythmis qui adhibentur.

Digeri possunt genera texturae numero et coniunctionibus partium, per nomina primariorum texturae elementorum descripta: melodia primaria (MP), melodia secundaria (MS), parallela melodia sustinens (PMS), sustentaculum staticum (SS), sustentaculum harmonicum (SH), sustentaculum rhythmicum (SR), ac sustentaculum harmonicum et rhythmicum (SHR) (Benward & Saker 2009).

Simultaneitas fit cum plures totae texturae musicae simul fiant, contra nonnullas texturas ex ordine factas.

Recentius texturae genus, primum a Georgio Ligeti adhibitum, est micropolyphonia. Inter alias magni momenti texturas musicas sunt texturae polythematicae, polyrhythmicae, onomatopoeicae, compositae, et mixtae (Corozine 2002: 34).

Vide etiam

Fontes

Benward, Bruce, et Marilyn Saker. 2009. Music: In Theory and Practice. Ed. 8a. Bostoniae: McGraw-Hill. ISBN 978-0-07-294262-0.
Copland, Aaron. What to Listen for in Music. Novi Eboraci: Signet Classic, impressio New American Library, divisionis Penguin Group.
Corozine, Vince. 2002. Arranging Music for the Real World: Classical and Commercial Aspects. Pacifici Missouriae: Mel Bay. ISBN 0-7866-4961-5. OCLC 50470629.
Frobenius, Wolf. Polyphony. In Grove Music Online, ed. L. Macy. Situs venalis.
Hanning, Barbara Russano. 1998. Concise History of Western Music. In A History of Western Music a Donald Jay Grout et Claude V. Palisca conditus. Ed. 5a. Novi Eboraci: W. W. Norton & Company. ISBN 0-393-97168-6.
Hyer, Brian. Homophony. In Grove Music Online, ed. L. Macy. Situs venalis.
Kliewer, Vernon. 1975. Melody: Linear Aspects of Twentieth-Century Music. In Aspects of Twentieth-Century Music, ed. Gary Wittlich, 270-301. Englewood Cliffs Novae Caesareae: Prentice-Hall. ISBN 0-13-049346-5.
"Monophony", Grove Music Online. L. Macy, ed. Situs venalis.

Nexus externi

"A Guide to Musical Texture," www.uwosh.edu

Haec stipula ad musicam spectat. Amplifica, si potes!

@@ Linea 3: / Linea 3: @@
 '''Textura''' in [[musica]] est modus quo res<!--materials--> [[melodia|melodicae]], [[rhythmus|rhythmicae]], et [[harmonia|harmonicae]] in [[compositio musica|compositione]] coniunguntur, totum rei [[sonus|sonum]] constituens. Ea saepe describitur quod attinet ad densitatem (vel crassitudinem) et [[coniectus (musica)|coniectum]]<!--range-->, [[spatium]] inter summos infimosque [[tonus|tonos]]<!-- ,in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices--> <!--(vide [[#Genera texturarum|genera texturarum]] infra)--> (Benward & Saker 2003). Exempli gratia, textura crassa nonnulla continere potest strata [[instrumentum musicum|instrumentorum]], alio strato fortasse [[pars chordarum|chordarum]]<!--string section-->, alio [[pars orichalcorum|orichalcorum]] parte, textura satis levis, nimis stratis carens. Crassitudo, a [[numerus|numero]] et ubertate<!--richness--> instrumentorum quae re canunt adfecta, inter naturas leves et crassas variatur. Moveri praeterea potest rei textura a numero ingenioque [[vox (musica)|vocum]] quae una canunt, [[color (musica)|colore]]<!--timbre--> instrumentorum vel [[vox|voces]] quae his partibus canunt, et [[harmonia|harmoniis]], [[tempus (musica)|temporibus]], ac [[rhythmus|rhythmis]] qui adhibentur.
-Digeri possunt genera texturae numero et coniunctionibus partium, per nomina primariorum texturae elementorum descripta: melodia primaria (MP), melodia secundaria (MS), parallela melodia sustinens (PMS), sustentaculum staticum<!--static support--> (SS), sustentaculum harmonicum (SH), sustentaculum rhythmicum (SR), ac sustentaculum harmonicum et rhythmicum (SHR) (Benward & Saker 2003: 136).<!--
+Digeri possunt genera texturae numero et coniunctionibus partium, per nomina primariorum texturae elementorum descripta: melodia primaria (MP), melodia secundaria (MS), parallela melodia sustinens (PMS), sustentaculum staticum<!--static support--> (SS), sustentaculum harmonicum (SH), sustentaculum rhythmicum (SR), ac sustentaculum harmonicum et rhythmicum (SHR) (Benward & Saker 2009).<!--
 ==Genera usitata==
@@ Linea 16: / Linea 16: @@
 |-
 | [[Monophonia|Monophonica]]
-| Monophonic texture includes a single melodic line with no accompaniment. (Benward & Saker 2003, 136). PSMs often double or parallel the PM they support (Benward & Saker 2003, p.&nbsp;137).
+| Monophonic texture includes a single melodic line with no accompaniment. (Benward & Saker 2009). PSMs often double or parallel the PM they support (Benward & Saker 2009).
-| [[Image:Pop Goes the Weasel melody.PNG|thumb|250px|"[[Pop Goes the Weasel]]" melody (Kliewer 1975, p.270-301).]]
+| [[Image:Pop Goes the Weasel melody.PNG|thumb|250px|"[[Pop Goes the Weasel]]" melody (Kliewer 1975: 270-301).]]
 | {{Listen|filename=Pop Goes the Weasel.ogg|title=Pop Goes the Weasel|image=none|description=Tune for ''Pop Goes the Weasel''}}
 |-
 | Biphonic
 | Two distinct lines, the lower sustaining a drone (constant pitch) while the other line creates a more elaborate melody above it. [[Pedal point|Pedal tone]]s or [[ostinati]] would be an example of a SS (Benward & Saker 2003, p.&nbsp;137).
-| [[Image:Pedal tone Bach - BWV 851, m.1-2.png|thumb|250px|Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from ''The Well Tempered Clavier'', Book I, m.1-2. All pedal tone notes are consonant except for the last three of the first measure.(Benward & Saker 2003, p.99)]]
+| [[Image:Pedal tone Bach - BWV 851, m.1-2.png|thumb|Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from ''The Well Tempered Clavier'', Book I, m.1-2. All pedal tone notes are consonant except for the last three of the first measure (Benward & Saker 2009).]]
 | {{Listen|filename=Pedal tone Bach - BWV 851, m.1-2.mid|title=Pedal tone Bach|image=none|description=Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from ''The Well Tempered Clavier'', Book I, m.1-2.}}
 |-
 |[[Polyphonia|Polyphonica]] or [[Counterpoint]]
-| Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the [[Renaissance music]], also prevalent during the [[Baroque music|Baroque period]] (Benward & Saker 2003,1999,199,158,137, 136,129,110,90,59,35,11,9,0). Polyphonic textures may contain several PMs (Benward & Saker 2003, p.&nbsp;137).
+| Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the [[Renaissance music]], also prevalent during the [[Baroque music|Baroque period]] (Benward & Saker 2009). Polyphonic textures may contain several PMs (Benward & Saker 2009).
 |[[File:BachFugueBar.png|thumb|right|250px|A bar from [[J.S. Bach]]'s "[[Fugue]] No.17 in A flat", BWV 862, from ''[[Well-tempered Clavier|Das Wohltemperirte Clavier]]'' (Part I), a famous example of '''[[counterpoint|contrapuntal polyphony]]'''. {{audio|BachFugueBar.mid|Play}}]]
 |{{Listen|filename=Johann Sebastian Bach - The Well-tempered Clavier - Book 1 - 11Efuge Bbmaj.ogg|image=none|title= Book 1 - Fugue  No. 21 in B-flat major (BWV 866)|description=performed on a Flemish harpsichord by Martha Goldstein|format=[[Ogg]]}}
 |-
 |[[Homophony|Homophonic]]
-|The most common texture in Western music: melody and accompaniment. Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic. Characteristic texture of the [[Classical music|Classical period]] and continued to predominate in [[Romantic music]] while in the 20th century, "popular music is nearly all homophonic," and, "much of jazz is also" though, "the simultaneous improvisations of some jazz musicians creates a true polyphony" (Benward & Saker 2003, 136). Homophonic textures usually contain only one PM (Benward & Saker 2009). HS and RS are often combined, thus labeled HRS (Benward & Saker 2003, p.&nbsp;137).
+|The most common texture in Western music: melody and accompaniment. Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. If all the parts have much the same rhythm, the homophonic texture can also be described as homorhythmic. Characteristic texture of the [[Classical music|Classical period]] and continued to predominate in [[Romantic music]] while in the 20th century, "popular music is nearly all homophonic," and, "much of jazz is also" though, "the simultaneous improvisations of some jazz musicians creates a true polyphony" (Benward & Saker 2003, 136). Homophonic textures usually contain only one PM (Benward & Saker 2009). HS and RS are often combined, thus labeled HRS (Benward & Saker 2009).
 |[[Fascoculus:If ye love me.png|thumb|right|250px|Homophony in [[Thomas Tallis|Tallis']] "If ye love me," composed in 1549. The voices move together using the same rhythm, and the relationship between them creates chords: the excerpt begins and ends with an F [[Major chord|major triad]].]]
 |{{Listen|filename=If ye love me.ogg|title=Tallis' "If ye love me"|description= Beginning of Tallis' "If ye love me," notated above.|image=none|format=[[Ogg]]}}
@@ Linea 52: / Linea 52: @@
 ==Additional types==
-Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions, this is basically added music (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic, and fugues as polyphonic). Many composers use more than one type of texture in the same piece of music.
+Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions, this is basically added music (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic, and fugues as polyphonic). Many composers use more than one type of texture in the same piece of music.-->
+Simultaneitas fit cum plures totae texturae musicae simul fiant, contra nonnullas texturas ex ordine factas.
-A simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. -->
 Recentius texturae genus, primum a [[Georgius Ligeti|Georgio Ligeti]] adhibitum, est [[micropolyphonia]]. Inter alias magni momenti texturas musicas sunt texturae polythematicae, polyrhythmicae, onomatopoeicae, compositae, et mixtae (Corozine 2002: 34).
 ==Vide etiam==
-*[[Bassus Albertianus]]<!--
+*[[Bassus Albertianus]]
+*[[Bassus figuratus]]<!--
 *[[Carter Family picking]]
 *[[Chorda aurorae borealis]]
@@ Linea 85: / Linea 86: @@
 {{DEFAULTSORT:Textura (Musica}}
-[[Categoria:Textura musica]]
+[[Categoria:Terminologia musica]]
+[[Categoria:Textura musica| ]]
 [[de:Textur (Musik)]]