Music
Counterpoint is the simultaneous combination of two or more independent melodic voices. counterpoint also called the musical-theoretical discipline concerned with the study of contrapuntal compositions, now polyphony. Counterpoint was created as a pedagogical tool with which students could compose musical compositions with a gradual increase in complexity. Part of these compositions was the unchangeable cantus firmus(literally "hard" chant). The idea appeared no later than 1532, when Giovanni Maria Lanfranco described a similar concept in his work Scintilla di Musica(Brescia, 1533). In the 16th century, the Venetian theorist Josephfo Zarlino developed the ideas of counterpoint in his composition "Le institutioni harmoniche", and the first detailed description of counterpoint appeared in 1619 in the work Ludovica Zacconi "Prattica di Musica". Zacconi supplemented counterpoint with several techniques, such as "counterpoint inversion" [ ] .
In 1725, the Austrian composer Johann Joseph Fuchs published a theoretical work Gradus ad Parnassum("Steps to Parnassus"), where he described five types of counterpoint:
- note against note;
- two notes against one;
- four notes against one;
- notes are offset relative to each other (syncoping);
- a mixture of the previous four approaches.
The contrapuntal style in music is most clearly represented in the choral works of Palestrina (c. 1525-1594) and in the instrumental and choral works of J. S. Bach (1685-1750).
In screen arts
In film, television, counterpoint- meaningful opposition or comparison of sound and image. Opposite synchronous- varieties of video material, where the image and sound correspond to one spatio-temporal situation (most often an interview episode - the viewer sees a person and hears noises and speech synchronized with the image, recorded in the same place and at the same time when the conversation takes place). Counterpoint can create image and noise, image and music. Especially striking is the counterpoint, in which one semantic layer (image) contrasts with another (sound). An example is a video image of a military parade followed by a comical circus march.
In popular culture
see also
punctum contra punctum, punctus contra punctum - note against note, literally - dot vs dot) - a simultaneous combination of two or more independent melodic voices. "Counterpoint" was also called the musical-theoretical discipline that deals with the study of contrapuntal compositions (now polyphony). The musical term "counterpoint" (metonymically) is now used by literary critics, art critics and journalists.In screen arts
In cinema, television - a meaningful opposition or comparison of sound and image. Opposite synchronous- varieties of video material, where the image and sound correspond to one spatio-temporal situation (most often an interview episode - the viewer sees a person and hears noises and speech synchronized with the image, recorded in the same place and at the same time when the conversation takes place). Counterpoint can create image and noise, image and music. Especially striking is the counterpoint, in which one semantic layer (image) contrasts with another (sound). An example is a video image of a military parade followed by a comical circus march.
In literature
In literature - the opposition of several storylines.
see also
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Synonyms:See what "Counterpoint" is in other dictionaries:
Counterpoint... Spelling Dictionary
- (new Latin, actually: counterdots, because before, instead of notes, they put dots). The art of harmonizing many voices to form one melody. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ... ... Dictionary of foreign words of the Russian language
Modern Encyclopedia
Counterpoint- (German Kontrapunkt, from the Latin punctus contra punctum, literally dot against dot), 1) in polyphonic (polyphonic) music, the simultaneous combination of 2 or more melodic lines in different voices is simple counterpoint. Repeating this... ... Illustrated Encyclopedic Dictionary
- (German Kontrapunkt) in music 1) a simultaneous combination of 2 or more independent melodies in different voices. 2) A melody composed to a given melody. 3) The same as polyphony. Big Encyclopedic Dictionary
COUNTERPOINT, counterpoint, pl. no, husband. (German: Kontrapunkt) (music). The art of combining independent, simultaneously sounding melodies into one whole. The highest flowering of counterpoint is the work of Bach and Handel. || Department of Music Theory, dedicated to ... ... Explanatory Dictionary of Ushakov
COUNTERPOINT, a, husband. In music: the simultaneous movement of several independent melodies, voices that form a harmonic whole (polyphony), as well as the doctrine of such movement. | adj. contrapuntal, oh, oh and contrapuntal, oh, oh. ... ... Explanatory dictionary of Ozhegov
Exist., Number of synonyms: 1 polyphony (5) ASIS Synonym Dictionary. V.N. Trishin. 2013 ... Synonym dictionary
- (it. Contrapunto, Nei. Contrapunkt, French Contrepoint) a combination of several melodic independent voices, characterized by full harmony. The difference between harmony and K. is that in the first voice leading is a consequence of the correct ... ... Encyclopedia of Brockhaus and Efron
The art of simultaneously combining several melodic lines. In the history of music, the term counterpoint is applied in a special sense to a style that arose in the 14th century. and who replaced the so-called. treble 13th c. In a broader and generally accepted sense ... ... Collier Encyclopedia
Books
- Counterpoint, Huxley Aldous, "Counterpoint" (1928) is Aldous Huxley's largest work, describing several months in the life of London's intellectual elite. There are no main characters or main ... Category:
COUNTERPOINT, the art of combining several melodic lines at the same time. In the history of music, the term "counterpoint" is applied in a special sense to a style that arose in the 14th century. and who replaced the so-called. treble 13th c. In a broader and generally accepted sense, the term counterpoint is used in characterizing the music of all subsequent eras. The term "polyphony" is largely synonymous with the term "counterpoint", it is also often characterized by musical compositions written using counterpoint.
The first flowering of the contrapuntal style falls on the 16th century. The choral works of Palestrina (c. 1525-1594) are considered to be its peak, although in Palestrina and even earlier one can see (taking into account the so-called passing notes) elements of harmonic writing. When composing in a contrapuntal style, the composer faces the problem of combining individual voices (vocal or instrumental parts) so that they contrast rhythmically with each other and that each of them has its own melodic appearance. Thus, if each voice is melodically interesting, none of them can be dominant - as opposed to a "solo" voice in a homophonic style.
Although Palestrina's art in composing unaccompanied counterpoint works for choir remained unsurpassed, the mastery of counterpoint reached the second peak in J.S. Bach (1685-1750). Bach's counterpoint relies on a more developed harmonic system and is distinguished by greater freedom of melodic lines. In Bach, the harmonic framework of counterpoint is especially noticeable in the part of the “figured bass” (basso continuo), performed on the organ or on the clavier. see also MUSIC THEORY.
Counterpoint in the 20th century P. Hindemith (1895-1963) came to the conclusion that counterpoint in the previous three and a half centuries turned out to be too closely connected with the harmonic basis, which prevented the development and individualization of individual voices. Hindemith's "linear counterpoint" is in a certain sense a return to the pre-Palestrian style, although in terms of the use of dissonances this style is quite modern. According to Hindemith, the dissonant, conflicting correlation of parts makes the listener perceive them as independent lines - in contrast to counterpoint, which is based on traditional harmony. This theory is contradicted by the fact that, abandoning traditional harmony, the composer builds his style not on arbitrarily chosen interval relationships, but on his own system of dissonant harmony. Consequently, the listener's perception still turns out to be tied to the harmonic basis.
types of counterpoint. The doctrine of counterpoint is an important branch of music theory. When teaching this art, separate types of counterpoint are distinguished. According to the classification of I.J. Fuchs (1660-1741), the difficulties of composing and combining independent melodic lines are overcome in five stages. The first is “note against note” (lat. punctum contra punctum, from which the word “counterpoint” comes from): here the rhythm of the “added voice” (counterposition) is identical to the rhythm of the main voice (cantus firmus) . The second stage consists in composing two notes of opposition to one note of the canthus; the third stage is in composing four notes for one note of the canthus. At the fourth stage, syncopations are introduced (usually these are detentions); at the fifth stage, the composition becomes freer.
In so-called. strict counterpoint, an attempt to compose according to the norms of the 16th century. often combined with the use of old church modes. Free contrapuntal writing is based more on the patterns of major-minor than on modes, and unlike strict counterpoint, there are modulations, a developed harmonic basis and more dissonant passing notes.
The dictionary contains the most commonly used terms.see also MUSICAL FORM;MUSICAL INSTRUMENTS; MUSIC THEORY. In Italian terms, language affiliation is not indicated.Authentic 1) authentic cadence in the major-minor system: a sequence of dominant and tonic chords; 2) in the medieval modal system mode, the range of which is built from the fundamental tone up an octave.Adagio (adagio) 1) tempo designation: slow (slower than andante, but more mobile than largo); 2) a part of a work or a separate piece at a given tempo.Adagissimo (adagissimo) tempo designation: very slow.ad libitum (ad libitum) "at will": an indication that allows the performer to freely vary the tempo or phrasing, as well as skip or play part of a passage (or other piece of musical text); abbreviated ad. lib.Agitato (agitato) designation of expressiveness: "excitedly."A cappella (a cappella) A term referring to choral music intended to be performed without instrumental accompaniment.Accolade a curly bracket that combines several musical staves.Chord joint sounding of several interconnected tones.Chord progression the movement of chords according to certain principles.Aleatorica a modern method of composition based on the introduction of elements of chance into the structure of the work.Alla Breve (alla breve) time signature notation (): fast performance of two-part meters, in which the score is kept not in quarters, but in half notes.Allargando (allargando) "expanding". A designation referring to both tempo (some slowdown) and expressiveness (emphasis on each sound).Allegretto (allegretto) 1) tempo indication: slower than allegro and faster than andante; 2) a fairly mobile short piece or part of a cycle.Allegro (allegro) "fun, joyful"; 1) tempo designation: soon; 2) a piece in allegro tempo, part of a cycle, the first part of a classical sonata-symphony cycle (sonata allegro).Hallelujah (Heb. “praise God”) an expression frequently found in sacred music and psalms; sometimes an independent piece of music in a liturgical cycle;Albertian basses accompaniment to the melody, consisting of "broken", "decomposed" chords, i.e. chords in which sounds are taken not simultaneously, but in turn. The technique is typical of clavier music of the late 18th century.Alto 1) the second voice from the top in a four-part choral or instrumental score. Alto was originally performed by a male falsetto hence the name, literally meaning "high"; 2) a low female voice, often called "contralto"; 3) an instrument corresponding in height to the position of the alto in the score for example, an alto string instrument, alto saxophone, alto flute, etc.Embouchure the position of the lips when playing wind instruments.cor anglais an alto oboe with a fifth lower tuning than a regular oboe.Andante (andante) 1) tempo designation: moderately; 2) a piece in Andante tempo or part of a cycle.Andantino (andantino) 1) tempo designation: more mobile than andante; 2) a small piece in andante tempo or part of a cycle.Animato (animato) designation of expressiveness: “animately”.Assembly 1) combination of voices or instruments (antonym solo); 2) in an opera a fragment for two or more soloists or for a soloist(s) with a choir.Aticipation (English) 1) a sound performed a little before the rhythmic beat to which it refers; 2) the performance of one of the tones of the chord a little earlier than the chord itself.Antiphon a form that provides for the alternate participation of two groups of performers. The term goes back to the name of one of the genres of ancient liturgical singing, the antiphon, which was performed alternately by two choirs.Appoggiatura decoration or unprepared retention, usually dissonant with respect to the main chord and resolved into one of its constituent tones. The long appoggiatura falls on the strong beat of the bar and resolves on the weak beat. A short appoggiatura (Italian accaciatura, accacatura; in Russian the term “flask” is used) is performed briefly before the strong beat (in the music of the Bach era is also short, but on a strong beat).Arrangement (arrangement, processing) adaptation of a musical composition for a different composition of performers than the original one (or than provided by the author).Arioso small aria; the adjective "ariose" refers to a vocal style more melodically rich than a recitative, but less developed than an aria.Arco (arco) literally “bow”: an indication of coll "arco for string players play with a bow, not pizzicato.Arpeggio a chord in which the tones are taken not simultaneously, but sequentially.Articulation a way of giving sound when playing instruments or singing, similar to pronunciation in speech communication.Assai (assai) "very"; for example, adagio assai is very slow.Attacca (attack) 1) an indication at the end of any part, instructing to start the next part without a break; 2) the distinctness, clarity with which the soloist takes the tone, or the accuracy, clarity of the simultaneous entry of members of the ensemble, orchestra, choir.A tempo (a tempo) return to the original tempo after changing it.Atonality the term is applied to music in which there is no specific tonal center and related consonance ratios.Affettuoso (affettuoso) designation of expressiveness: "with feeling".Aerophone, wind instrument an instrument in which the sound occurs as a result of the oscillation of a column of air in the tube.Baritone 1) male voice of the middle register, between tenor and bass; 2) an instrument from the group of saxophones with a baritone range.Bass 1) the lower voice of an instrumental or vocal score; 2) male voice of low register; 3) a low-range musical instrument (for example, a bass viol).Basso continuo (basso continuo) (also general bass, digital bass) "continuous, general bass": a tradition of baroque music, according to which the lower voice in the ensemble was played by a melodic instrument of the appropriate range (viola da gamba, cello, bassoon), in while another instrument (keyboard or lute) duplicated this line along with chords, which were indicated in the notes by a conditional digital notation, implying an element of improvisation.Basso ostinato (basso ostinato) literally “permanent bass”: a short musical phrase in bass, repeated throughout the entire composition or any section of it, with free variation of the upper voices; in early music this technique is especially typical of the chaconne and passacaglia.Natural sign ( ), indicating that the given tone is not rising or falling; often used as an indication of the cancellation of a previously made rise or fall in tone in a given measure; bekar is only an accidental sign and is never placed at the key.Bel canto (bel canto) singing style associated with Italian opera; the beauty of sound production and technical perfection prevail in it over dramatic expressiveness.Flat ( ) and double flat ( ) signs indicating a decrease in sound by a semitone or two semitones, i.e. for a whole tone.Burden (English) a refrain or a separate choral work, sung into meaningless syllables.Beat (English) rhythmic pulsation, rhythmic accent.blue notes (English) In jazz, playing the third or seventh in a major with a slight drop (a term associated with the blues genre).B op (English) one of the jazz styles: associated with a small ensemble, it was popular in the late 1940s.Breve note duration, mainly in early music: equal to two whole notes.Battery (English) percussion group in a symphony or brass band.variation reception of the composition, consisting in a modified repetition of the previously presented material.Introductory tone the seventh step in the scales of major, harmonic and melodic (with ascending movement) minor: a semitone is formed here, which gravitates towards the tonic that is half a step higher (for example, in C major, the soundsi gravitates toward the superiorbefore ). Vibrato a slight oscillatory change in the pitch or volume of a sustained tone in order to create an additional colorful effect.Vivace (vivache) designation of tempo and expressiveness: fast, lively.Virtuoso performer with outstanding abilities and brilliant technique.Vocalise 1) singing to vowel sounds (exercise); 2) a work for voice (without words) and accompaniment.vocal cycle a concept similar to a poetic cycle: a group of romances or songs, united by a common idea, as well as musical themes.Altitude Relative pitch, defined as the number of vibrations per second.Gamma, scale a set of sounds belonging to one or another modal system and arranged in a certain order (usually in a gradual ascending or descending movement in the form of a scale). In everyday usage, the terms "scale" and "scale" are used interchangeably, but the scale need not be written in scale form.harmonic rhythm the speed at which chords succeed each other.Harmony 1) simultaneous sounding consonance of several tones (chord); 2) connections within chord progressions; 3) the science of the laws of the correlation of chords; 4) the "vertical" (harmonic) aspect of the musical composition, interacting with its "horizontal" (melodic) aspect.Gebrauch s music(German) 1) a direction in music (mainly German) of the 20th century, which consciously focused on the performance and taste demands of amateur music-making; 2) applied, functional music (for example, dance music, theater music, film music, etc.).Gesammtkunstwerk (German) "total work of art": a term proposed by R. Wagner and implying the unity of stage action, music and decoration in his musical drama.Hexachord diatonic scale of six tones; used in the theory of Guido d "Arezzo.heterophony a type of polyphony in which the same melody is performed by two or more voices with slight differences. This ancient type of polyphony is characteristic of a number of Asian and African cultures, as well as some genres of Russian folklore and folklore of other European peoples.Glissando (glissando) performing technique when playing instruments, which consists in lightly sliding a finger along a string along the fretboard of strings, in sliding one or more fingers on the keyboard (most often on white keys), etc.goket a type of polyphonic technique in medieval music, consisting in the distribution of individual sounds or segments of a melodic line in different voices.Head register the highest register of the human voice, when it is used, the cranium serves as a resonator.Voice 1) sounds produced by human vocal cords; 2) a melodic line or part of the texture of a given composition, instrumental or vocal.homophony type of musical writing, in which there is a melodic line and its harmonic accompaniment.Grave (grave) designation of tempo and expressiveness: slowly, solemnly.grand op é ra (French) “grand opera”: a genre of French opera of the 19th century, distinguished by its large scale, vivid dramaturgy, and spectacle.Gregorian chant liturgical monodic (monodic) singing of the Western Christian Church; was named after Pope Gregory I (c. 540604), who streamlined church singing.Vulture for a violin and similar instruments a wooden (or plastic) plate, over which the strings are stretched and on which the performer's fingers are located during the game.chest sound the use of the lower register of the voice, when the chest serves as a resonator for the extracted sound.gruppetto a type of melisma (decoration) in vocal or instrumental music, consisting in the environment, singing the main tone from below and above: for example, with the main tonebefore gruppetto will look likere do si do. Designated as. Da capo (da capo) "from the beginning"; an indication instructing to repeat from the beginning a fragment or a whole part of the work; D.C. for short.Dal segno (dal seño) "starting from the sign"; an instruction to repeat a fragment from a sign; D.S. for short. war trill simultaneous trill at two high-altitude levels.double meter meter, for which two main stresses per bar are typical stronger and weaker. For example, in 6/8 time there are two accents: on the first eighth strong, on the fourth weak.double tongue sound extraction technique on some wind instruments (for example, on a trumpet, horn, flute), in which doubled sounds are extracted by a quick movement of the performer's tongue (similar to the rapid pronunciation of the sounds "t-k").double notes simultaneous combination of two or more sounds on stringed bowed instruments (for example, on a violin).Jazz one of the musical styles of the 20th century that originated in the USA; jazz is characterized by a large role of improvisation and the complexity of rhythm.Giocoso (jokozo) fun, playful.Range 1) in medieval music theory octave; 2) the name of one of the flute pipes of the organ; 3) the sound volume of the voice, instrument, etc.Diatonic a seven-tone scale within an octave that does not have altered tones.Divisi (divisi) an indication for the members of the ensemble, warning about the division of the party into several independent voices.Sharp ( ) and double sharp ( ) signs indicating a rise in tone by a semitone or two semitones, i.e. for a whole tone.Diminuendo (diminuendo) dynamic indication similar to decrescendo.Dynamic notation words (for example, forte), letter abbreviations (for example, f or p ) and conditional icons (for example, forks) indicating the dynamic level of performance and its changes.Treble 1) type of polyphony of the 12th-15th centuries; 2) the highest voice in a choir or in a group of instruments (in Russia in a choral score for a boys' choir, sometimes together with a male choir, mainly in sacred music).Dissonance discordant, unfused sound of two or more tones. Dissonance often resolves into consonance. Dissonance, like consonance, is a historically changing concept.Additional rulers short rulers placed above or below the staff to indicate sounds above or below the range covered by the staff.Doloroso (doloroso) indication of expressiveness: "mournfully."Dolce (dolce) an indication of expressiveness: “gently”, “affectionately”.Dominant the fifth degree of the major or minor scale (for example,salt in C major). Decrescendo (decrescendo) Dynamic guidance: Gradually decrease the volume. Also marked with a fork. Detention one or more chord sounds that drag on while other voices transition into a new chord; retentions usually discord with the new chord and then resolve into it.Zatakt one or more sounds at the beginning of a phrase, which are recorded before the first bar line of the composition. The upbeat always falls on the downbeat and precedes the downbeat of the first full measure.sound recording direct associative connection of music with text in vocal music; for example, an upward scale movement to the words "and ascended into heaven."ID é e fixe (French) literally “obsession”: a term associated primarily with the symphonic music of G. Berlioz and denoting the presence in the work of a cross-cutting theme associated with extra-musical concepts (for example, the theme of the beloved inFantastic symphony , Harold's theme in the symphonyHarold in Italy ). Idiophone an instrument in which the sound source is a vibrating body (for example, a gong, a triangle).Imitation repetition of musical thought, exact or somewhat modified, in different voices of polyphonic texture.Impressionism an artistic movement in the visual arts and in music that arose at the end of the 19th century; it is typical for him to appeal primarily to feelings, and not to intellect, the desire for brilliance, for the embodiment of fleeting impressions, for a spiritualized landscape. In music, the most prominent representative of impressionism is C. Debussy, as well as authors who were influenced by his style.Improvisation the art of spontaneously creating or interpreting music (as opposed to strictly following a pre-recorded text).Inversion , appeal 1) in the melodic sense, the presentation of a motive or theme in reverse motion: for example, instead ofdo re mi ѕ mi re up ; 2 ) in the harmonic sense, the construction of one or another chord not from the first (lower) step, but from some other: for example, the first inversion of a triaddo mi sol is a sixth chordmi sol up . Instrumentation, orchestration the art of distributing the voices of the musical texture between the members of the ensemble; cm. ORCHESTROVING. Interval musical and mathematical (acoustic) distance between two tones. Intervals can be melodic, when the tones are taken alternately, and harmonic, when the tones are played simultaneously.Intonation 1) the degree of relative acoustic accuracy with which sounds are reproduced by a soloist or ensemble (vocal or instrumental); 2) the initial melodic motif of medieval psalmody formulas (performing psalms in melodic recitative).Cabaletta 1) a small virtuoso opera aria; 2) the final quick section of the opera aria.Cavatina a short lyrical aria of the song type.cadence the harmonic sequence that ends the musical phrase. The main types of cadence are authentic (dominant tonic), plagal (subdominant tonic).Cadence in an instrumental concerto for a soloist and orchestra a virtuoso solo section, usually placed closer to the end of the movement; cadenzas were sometimes composed by composers, but were often left to the discretion of the performer.Chamber music instrumental or vocal ensemble music intended for performance mainly in small halls. A common chamber-instrumental genre is the string quartet.Cantabile (cantabile) melodious, coherent style of performance.Cantilena vocal or instrumental melody of a lyrical, melodious nature.cantus firmus (lat.) (cantus firmus) literally “strong melody”: a leading melody, often borrowed, which forms the basis of a polyphonic composition.Cantus planus(lat.) (canthus planus) rhythmically even monophonic singing, characteristic of Gregorian chant.Neuter male voice, soprano or alto, used in Italian opera, predominantly from the Baroque period.Quasi (quasi) like, like; quasi marcia like a march.Quartet string quartet: ensemble of two violins, viola and cello; piano quartet: ensemble of violin, viola, cello and piano.Quartol division of the rhythmic beat into four equal parts.Quintet string quintet: an ensemble usually consisting of two violins, two violas and a cello. Some works by Boccherini and Schubert are written for two violins, a viola and two cellos; piano quintet: an ensemble consisting of a string quartet (two violins, viola, cello) and piano; quintetTrout Schubert is a rare exception to the rule, as he composed violin, viola, cello, double bass and piano.quintol division of the rhythmic beat into five equal parts.Quodlibet (quadlibet) a humorous piece of music that combines several well-known melodies, often borrowed from folk or popular songs.Harpsichord a stringed keyboard instrument from the 16th to 18th centuries in which, when the keys are pressed, small plectrums hook the strings.Clavichord a small Renaissance and Baroque keyboard instrument in which small metal pins struck the strings when the keys were pressed, producing a soft, gentle sound.Clavier the general name of stringed keyboard instruments (clavichord, harpsichord, piano, etc.).Klangfarbenmelodie (German) a concept related to the field of dodecaphony, in particular to the work of A. Schoenberg and his followers: each note or each short motive in the score is intended for different instruments.cluster dissonant consonance, consisting of several sounds adjacent to each other.Key 1) the main scale of a particular composition, named after its main tenet tonic and indicated by signs at the key; 2) a sign at the beginning of the musical staff, which determines the height position of the subsequent musical notation (for example, bass, violin, alto, etc.); 3) a device in some keyboard and wind instruments for tuning the instrument.Key signs flats and sharps set at the beginning of each staff on which music is recorded and indicating the key: for example, one sharp in the key refers to the keys of G major and E minor, one flat indicates the keys of F major and D minorcoda the final section of the musical composition, sometimes developing the final cadence. The coda contributes to the completeness of the composition; in some cases it reaches its main climax.Coloratura virtuoso singing style, usually including fast scales, arpeggios, embellishments; generally, the coloratura is associated with the high, light soprano, especially in opera.con brio (con brio) designation of expressiveness: "live".con moto (kon moto) designation of tempo and expressiveness: “with movement”.con fuoco (kon fuoco) designation of expressiveness: "with fire".Consonance consonance, consonant sounding of two or more tones; the concepts of consonance are different in the music of different eras and styles.Contralto the lowest register female voice.Counterpoint type of musical writing, in which voices (two or more) move with relative independence.contrabassoon A large bassoon playing an octave lower than a regular bassoon.Countertenor very high male voice (above tenor).Concertina in a Baroque instrumental concerto (concerto grosso), a group of soloists, usually two violas and basso continuo. Concertmaster 1) first violin in the orchestra: this performer plays solo fragments of the score and, if necessary, replaces the conductor; 2) a musician leading a group of orchestra instruments; 3) a pianist who studies a work (part) with vocalists, instrumentalists, ballet dancers and performs with them at concerts.Concertato (concertato) a style characteristic of the music of the Baroque era and implying a "competition" of orchestra groups, choirs, etc.cornetto(cornetto) , zinc Late Renaissance and Baroque woodwind or brass instrument, predecessor of the cornet; has a conical barrel, cup-shaped mouthpiece, chromatic scale.Crescendo (crescendo) speaker symbol: gradual increase in volume. Also marked with a fork. frets 1) scales like major or minor; 2) in the Middle Ages, the system of diatonic (“by white keys”) modes (modes, scales), originating from the ancient Greek modes and forming the basis of medieval church singing and the genres that developed on its basis; in this regard, medieval modes are often called church modes. Each medieval mode has an octave range and can be represented in two forms authentic and plagal. Four main authentic modes Dorian fromre, Phrygian from mi, Lydian from F and Mixolydian fromsalt . The plagal modes parallel to them have the same root, but the range is usually a fourth lower. In the Renaissance, to the described modes were added: the Aeolian mode fromla and Ionian mode frombefore with appropriate plagal forms. Cm. frets ; 4) vein, bone or wooden plates located on the necks of a lute, guitar and other similar instruments and marking the location of certain sounds for the performer.Larghetto (larghetto) 1) tempo designation: slow, but somewhat more mobile than largo; 2) a piece or part of a cycle at a given tempo.Largo (largo) literally "wide": 1) tempo designation; in the conventional sense the slowest pace possible; 2) a piece or part of a cycle at a given tempo.Legato (legato) designation of expressiveness: connected, without breaks between sounds.Leggiero (legiero) designation of expressiveness: light, graceful.Keynote in the operas of Richard Wagner (and other authors who use the leitmotif technique in works of different genres) a melodic, rhythmic, harmonic motif associated with a character, object, time and place of action, as well as with certain emotions and abstract ideas.Cm. Keynote. Lento (tape) tempo designation: slow.Libretto the text of the opera and oratorio, often in verse form.league a curved line below or above notes that links them into a phrase; if the slur connects two notes of the same pitch, then the second note is not played, and its duration is added to the duration of the first note.Lied (German "song") a term referring to the romance lyrics of German composers of the 19th century.Lyric opera (opéra lyrique) referring to 19th century French opera. and denoting a kind of genre, located, as it were, between the “grand opera” (grand opéra) and the “comic opera” (opéra comique).L "istesso tempo (listesso tempo) "in the same tempo": the designation indicates that the tempo is maintained even if other note values are subsequently used.Lute stringed plucked instrument.Cm. LUTE. Ma non troppo (ma non troppo) not too much; allegro ma non troppo not too fast.Madrigal 1) secular vocal two- or three-voice genre in Italian music of the 14th century; 2) a secular polyphonic choral play in Italy and England in the 16th and early 17th centuries.Major and minor terms are used: 1) to denote the quality of certain intervals (seconds, thirds, sixth, seventh) for example, there can be two thirds: major, or large (do mi ) and minor, or small (do E-flat ), i.e. the major interval is a semitone wider than the corresponding minor interval; 2) to designate two main types of triads and chords built on them: a triad, the first interval of which is a major third major (do mi sol ), a triad with a minor third in the stem minor (to E flat G ) ; 3) to designate the two most common scales in European music after 1700 major (with a major third between degrees I and III) and minor (with a minor third between degrees I and III). The major scale from note to has the form:do re mi fa sol la si do . The minor scale has three forms: the natural minor, in which semitone ratios are formed between the II and III and between the V and VI degrees, as well as the harmonic and melodic minors, in which the VI and VII degrees change (alter).Cm . MUSICAL SCAMS.Manual keyboard; in Russian it usually refers to organ and harpsichord keyboards.Marcato (marcato) designation of expressiveness: clearly, with an accent.mediant III degree of the scale: for example,mi in C major. melismas (decorations) 1) melodic fragments or whole melodies performed on one syllable of the text. The melismatic style is characteristic of ancient church singing of various traditions (Byzantine, Gregorian, Old Russian, etc.); 2) small melodic decorations in vocal and instrumental music, indicated by special symbols or small notes.small note a note (or a group of notes) that is written smaller than the rest. Such a recording can have two meanings: 1) in music created before the 19th century, and sometimes even later, a “small note” was an ornament that did not have its own rhythmic duration, but borrowed, “taken away” it from the subsequent duration; in Russian, in this case, the borrowed term "grace" is used; 2) in the music of the 19th century, especially in the works of Liszt, Chopin and Anton Rubinstein, a series of "small notes" are often used in cadenzas and phrases similar to them in style, and the passage as a whole has some designated length (for example, a measure or two measures and etc.), and the duration of each of the “small notes” is determined by the performer (usually such passages are performed rubato, i.e. “freely”).Melody a musical idea expressed in one voice and having a certain pitch and rhythmic contour.Meno (meno) "less"; meno mosso (meno mosso) pace designation: calmer, not so fast.Meter rhythmic form, consisting of alternating percussion and unstressed (strong and weaker) beats, like a foot in poetry. The main types are double meter (with one stressed and one unstressed beat per measure) and triple meter (with one stressed and two unstressed beats per measure).Meter and size notation meter is usually indicated by two numbers set at the beginning of musical notation: the top number shows the number of beats in a measure, the bottom one shows the rhythmic unit of the account. Thus, the time signature 2/4 shows that the measure has two beats, each in a quarter.Metronome a mechanical device for determining the tempo of a piece, invented in the 19th century.mezza voice (mezza voche) in an undertone.Mezzo forte (mezzo forte) not very loud.mezzo soprano female voice of medium height, between soprano and contralto.Microtone the interval is less than a semitone (in temperament).Minimalism musical style of the second half of the 20th century, based on a long repetition, perhaps with minor changes, of very laconic musical material.Modality way of pitch organization, which is based on the principle of the scale in contrast to the tonal major-minor principle. The term is applied to ancient church monodic music of different traditions, as well as to oriental and folk cultures (in this case, the term “modality” may correspond to the term “modality”).Moderato (moderato) tempo designation: moderately, between andante and allegro.Modulation in the major-minor system, a change of key.M olto (molto) very; tempo symbol: molto adagio tempo symbol: very slow.Monody 1) solo or monophonic choral singing without accompaniment; 2) the style of Italian music of the early 17th century, for which the predominance of melody over simple chord accompaniment is typical.Mordent decoration (melisma), referred to as( ) or ( ) and consisting in a rapid movement one step up or down and an immediate return; a double mordent up and down is also possible.motive a short melodic-rhythmic figure, the smallest independent unit of the musical form of a work.Musica ficta(fictitious music) falsa musica (false music) a practice common in the late Middle Ages and early Renaissance, following which, during performance, chromatic alterations were introduced into music that were absent in the recorded musical text in order to avoid the dissonant interval of the tritone or increase the VII degree (introductory tone).Cm . MUSICAL SCAMS.Music concr è te (French) one of the trends in music of the 20th century, which originated in France: here both musical and natural sounds are used as the main material, recorded on film and then subjected to various kinds of acoustic and other transformations.Setting The process of correcting the pitch of different instruments (for example, strings or piano), in which the sound acquires the pitch characteristic of this temperament system, and the sound of this instrument is consistent with the tuning of other instruments.Non-chord sound a sound that is not part of this chord, but sounds along with it.Neumatic style in medieval art, a method of vocal writing, in which there are several tones for each syllable of the text in contrast to the syllabic style, where each syllable corresponds to one tone, and the melismatic style, where each syllable corresponds to a longer chant.Nevmy signs of ancient notations similar to hieroglyphs; nevma can mean both one tone and a rather long melodic construction. Old Russian nevmas are called hooks.Neoclassicism one of the trends in the music of the 20th century, for which the use of genres, forms, melodic models, etc. rethought in the modern spirit, is typical. baroque and classicism eras.non troppo (non troppo) not too much; allegro ma non troppo tempo notation: not too fast.Note graphic designation of musical sound, as well as the sound itself.stave a set of five horizontal rulers in musical notation.Overtones overtones included in the spectrum of sound produced by an oscillating object, a vibrator (for example, a string or a column of air), and located above the fundamental tone. Overtones are formed as a result of vibration of the parts of the vibrator (its halves, thirds, quarters, etc.), each of them has its own pitch. Thus, the sound produced by a vibrator is complex and consists of a fundamental tone and a set of overtones.obligato (obbligato) 1) in music of the 17th and 18th centuries. the term refers to those parts of instruments in a work that cannot be omitted and must be played without fail; 2) fully written accompaniment in a piece of music for voice or solo instrument and clavier.Octave the interval between two sounds whose frequency ratio is 1: 2.Octet an ensemble of eight performers, as well as a chamber-instrumental work for this composition.Opus(opus) (lat. opus, "work"; abbreviated op.): the designation has been used by composers since the Baroque era and usually refers to the serial number of a given composition in a list (most often chronological) of works by a given author.Organ item, pedal sound sustained in the bass (or several sounds), against which other voices move freely; this technique is often used in organ music, in the classical style the organ points usually appear before the final cadence.Organum a form of early Western polyphony (since the 9th century), which uses melodies borrowed from church monody.Basic tone the main (most often lower) sound within a given group of sounds (intervals, chords, modes, etc.).Ostinato (ostinato) multiple repetition of a melodic or rhythmic figure, a harmonic turn, a separate sound (especially often in bass voices).Pandiatonic a style of harmonic writing in which diatonic consonances are used freely, often outside the rules of traditional harmony.Parallel movement ascending or descending parallel movement of two or more voices, in which the same interval distance is maintained between these voices (for example, movement in parallel thirds or parallel fourths).Parallel chords ascending or descending movement of chords of the same or similar structure, without the permissions prescribed by traditional harmony.Parallel major and minor major and minor, which have the same key signs and are separated from each other by a small third (for example, C major and A minor).Patter song (English) a humorous song in which the words are set to a simple melody consisting of multiple repetitions of the same sounds; words should be pronounced quickly and clearly.Pause the term is used to denote both the actual pause a break in sound, and the signs that prescribe it.Pesante (pezante) designation of expressiveness: hard.Pentatonic five-step frets; main type non-semitone pentatonic scale (“by black keys”); such modes are often found in the music of the Far East, they are also typical of a number of European folklore traditions, in particular Russian.cross rhythm simultaneous use of different meters (rhythmic patterns) in different voices, for example, two-part and three-part.Translation close proximity (or simultaneous sounding) in the score of a tone and its altered form for example,si And b flat . In some styles, recursion is strictly prohibited.Perpetuum mobile (perpetuum mobile) (lat. "perpetual motion"): a piece built on continuous rapid rhythmic movement from beginning to end.Pianissimo (pianissimo) very quiet; abbreviated:pp . Piano (piano) quiet; abbreviated:p . Piu (piu) more; piu allegro tempo designation: faster.Pizzicato (pizzicato) plucking: a way of playing stringed instruments by plucking the strings with your fingers.Plagal 1) in music based on the major-minor system, a cadence in which a subdominant chord resolves into the tonic (a move from the IV to the I degree, or from a triadfa la do to a triad do mi sol in C major); 2) in medieval church singing, a mode that is a fourth lower than the corresponding authentic mode and has a common main tone with it.Polymodality simultaneous use of several (for example, major and minor) scales (modes) in a work.polyrhythm the simultaneous use of distinctly contrasting rhythmic patterns in different voices.Polytonality Simultaneous sounding of two or more keys.Polyphony the warehouse of the letter, assuming the independent movement of each of two or more voices.Cm. POLYPHONY. Semitone half a tone, or 1/12 of an octave.Portamento (portamento) a sliding transition from one note to another, used in singing and playing the strings.portato (portato) a way of sound production, between legato and staccato.Postlude an instrumental piece performed after the end of a service in a Western Christian church (usually on the organ), as well as an independent instrumental or orchestral piece resembling an "afterword".Primadonna leading female performer in the opera house.Program music instrumental and orchestral music associated with the embodiment of ideas borrowed from the non-musical sphere (literature, painting, natural phenomena, etc.). The name comes from the program of the text with which composers often accompanied works of this type.passing sound a sound that is not part of the chord structure, but linearly connects two consonant harmonies (usually appears on a weak beat of the bar).Prestissimo (prestisimo) tempo designation: exceptionally fast; faster than presto. Presto (presto) tempo designation: very fast.Psalm Tones Relatively simple melodic formulas Models according to which psalms and other liturgical texts were performed in the medieval Western Christian church.dotted rhythm a rhythmic pattern formed by increasing the beat by half the duration by halving the next weaker beat. Indicated by a dot to the right of the note.Development the development of a musical idea by isolating fragments of themes, changing the keys of the themes, their expansion, various combinations with each other, etc. Development is also called the second, developing section of the sonata form (sonata allegro).Permission movement from dissonance to consonance.Rakohod return, from the end to the beginning, the movement of the theme.Rallentando (rallentando) pace designation: gradually slowing down.Chant, chant system of monodic vocal music, mainly church singing of different denominations.Register 1) a group of organ pipes that create a certain timbre; 2) a certain section of the range of a voice or instrument that has distinct coloristic and timbre qualities (for example, “head register” falsetto).reprise the final section of the composition in sonata form, where the themes of the exposition are repeated; a reprise is also called the repetition of musical material in the final section of various forms - for example, a three-part one.Responsory the chant of the Western Church, in which the singing of the soloist and the choral refrain alternate; the definition of "responsible" can refer to a similar technique in music of different styles.Refrain 1) in the form of the rondo type unchanging musical material that appears after the contrasting sections; 2) chorus the second, unchangeable half of the verse in verse form (for example, in a song).Ripieno (ripieno) in the instrumental music of the Baroque era, the designation of the playing of the entire orchestra; the same as tutti.Ritardando (ritardando) tempo designation: gradually slowing down.Ritenuto (ritenuto) tempo designation: gradually reducing the tempo, but in a shorter segment than ritardando.Rhythm temporal organization of music; specifically the sequence of durations of sounds.Ritournel literally "return". In early opera, the term referred to repeated returns of a melody (such as a refrain); in the baroque concerto, the ritornello was the periodic return of variants of the first theme, which were performed by the entire orchestra (as opposed to the intermediate sections, which were performed by solo instruments).Rococo the art style of the first half of the 18th century, including music; Rococo is characterized by an abundance of ornamental motifs, whimsical lines.Rubato (rubato) flexible interpretation of the tempo-rhythmic side of the work, deviations from a uniform tempo in order to achieve greater expressiveness.Row, series basic structure in dodecaphony (12-tone composition technique); in its purest form, the series consists of 12 non-repeating sounds that appear in the order determined by the composer; in practice, a series may consist of a different number of non-repeating sounds.Swing a style of dance jazz music for a big band type orchestra, popular in the late 1930s and early 1940s.Bundle a fragment of secondary content, often modulating, which serves as a transition from one section of the musical form to another.Sequence repetition of a motive or phrase at a different pitch level.Sextet an ensemble of six performers or a composition for this composition.Sextol division of the rhythmic beat into six equal parts.Septet an ensemble of seven performers (each has its own part) or a composition for this composition.serialism, seriality a composition technique in which a set of non-repeating sounds is used as a basis (the classic version 12 sounds, but may be less) and the entire composition consists of a continuous repetition of this set series or several series; rhythm, dynamics, timbre, etc. are organized according to the same principle. The simplest, original version of seriality is dodecaphony, in which only the pitch factor is taken into account.Syllabic a style of vocal writing in which there is one sound per syllable (without intra-syllable chants).strong beat the main metric stress in a measure, usually on its first beat.Syncope shifting the accent from the stressed beat to the unstressed beat.Synthesizer electronic musical instrument.Scherzo a piece or part of a cycle at a fast pace.Warehouse, letter the type of interaction of voices in the musical fabric. Main types: monody (monophony); polyphony, or counterpoint (several freely interacting lines); homophony (melody with accompaniment).Scordatura (scordatura) Temporarily changing the normal tuning of a stringed instrument.Scherzando (scherzando) playfully.Random signs signs used to indicate an increase or decrease in tone. sharp sign () gives rise by a semitone; flat sign () down a semitone. Double-sharp sign () raises the sound by two semitones, double-flat sign () lowers two semitones. Bekar sign () cancels the previous random sign. A random sign is valid for the note before which it is placed, and for all its repetitions within the boundaries of a given bar.Solo (solo) a composition or its fragment for one performer or for a soloist from an ensemble, orchestra, etc.Solmization system of syllabic naming of notes:before , re , mi , F , salt , la , si . Solfeggio 1) vocal exercises sung to vowels or syllables; 2) one of the disciplines of the musical-theoretical course.Soprano 1) the top part in the choral score; 2) the highest female voice in the register (or the voice of a boy); 3) a variety of some instruments for example, soprano saxophone.Compound bipartite meter meter (size), for which the nature of the grouping of metric shares of three (6/4 or 6/8).Compound triple meter meter (size), which is characterized by three groups of three metric parts each (9/6 or 9/8).Sostenuto (sostenuto) designation of expressiveness: restrained; sometimes the notation can refer to tempo as well.Sotto voice (sotto voche) designation of expressiveness: “in an undertone”, muffled.Soul one of the styles of American popular music based on Negro folklore and spiritual singing.Spinet in the 17th and 18th centuries. a kind of harpsichord of small size, as well as a small piano.Spiritoso (spiritoso) with enthusiasm.Staccato (staccato) abruptly: the manner of sound production, in which each sound is, as it were, separated by a pause from the other; the opposite way of sound production legato (legato), connected. Staccato is indicated by a dot above the note.Stile rappresentativo (rappresentative style) the operatic style of the early 17th century, the basic principle of which is that the musical beginning should be subordinated to the expression of dramatic ideas or reflect the content of the text.Stretta 1) in a fugue, especially in its final section, presentation of a polyphonic theme in the form of a simple or canonical imitation, in which the imitating voice enters before the end of the theme in the beginning voice; 2) the acceleration of the tempo of the action and the tempo of the music in the finals of Italian operas.Subdominant literally “below the dominant”: IV degree in major or minor (for example,F in C major). Submediant literally "below the median": VI in major or minor (for example,la in C major). Sul ponticello (sul ponticello) Literally "on the pedestal": instructing a string player to play next to the pedestal to produce a stronger, more brilliant sound.Sul tasto (sul tasto) literally "on the fretboard": telling a string player to play on the fretboard to produce a softer, more covered sound.Mute a device that allows you to muffle, soften the sound of some instruments.Sforzando (sforzando) sudden emphasis on a sound or chord; abbreviated. segue (segue) continue as before: an indication that, firstly, replaces the indication attacca (i.e., instructs to perform the next part without interruption), and secondly, instructs to continue playing in the same manner as before ( in this case, the designation sempre is more often used).Semibreve(semibreve) whole note. Semplice (sampleche) expressiveness designation: simple.semper (sempre) constantly, always; sempre pianissimo very quiet all the time.Senza (senza) without; senza sordino remove the mute.tablature Renaissance and Baroque notation systems for instruments such as organ, harpsichord, lute and guitar; tablature does not use five-line notation, but various signs numbers, letters, etc.Tact a unit of musical meter, which is formed from the alternation of stresses of different strength and begins with the strongest of them. The bars are separated from each other by a vertical line on the staff.theater music music for performance during the presentation of a dramatic play; in the 19th century overture and intermissions were usually composed.Subject the main melodic idea of the work; often the term is used to refer to the main theme of the fugue and other polyphonic works, as well as the main part in sonata form.Timbre specific coloration characteristic of a particular voice or instrument.Pace movement speed in music.Temperament alignment of interval relationships in the musical system, in which some intervals differ from their pure acoustic values. Now the most common is the so-called equal temperament, in which the octave is divided into 12 equal semitones. characteristic of the second half of the 20th century. the movement towards the revival of early music led to the revival of different methods of temperament belonging to the Renaissance, Baroque, Classicism, etc.).Tenor 1) the second from the bottom part in a four-voice letter; 2) high male voice; 3) a variety of instruments of the corresponding register for example, a tenor saxophone; 4) in medieval polyphony, a tenor was a voice in which the main (often borrowed) theme of the composition (cantus firmus) was stated in large lengths.Close location the location of the chord, in which its component tones are as close as possible to each other.Tessitura the main range of a voice or instrument (without the most extreme registers).tetrachord four-step scale in the fourth range.Tone 1) a single sound of a certain height and duration; 2) an interval consisting of two semitones (for example, a major seconddo re ). Key 1) the height position of the fret for example, C major; 2) a system of pitch connections centralized around the main consonance tonic. The term "tonality" is used as an antonym of the term "modality", associated with modes other than the classical major and minor.Tonic the main foundation of a mode or tonality, expressed in the form of one sound (for example,before in C major) or a chord (for example, a triaddo mi sol in C major). Transcription, processing, transcription adapting a work for a different instrument or for a different cast than the original, for example, transcribing a choral work for an instrumental ensemble. A transcription can also be called a reworking of a work for the same instrument as in the original, for example, in order to give it greater virtuosity.transposition, transposition transfer of the whole work or its fragment to another key.Triad a chord consisting of three sounds arranged in thirds, for exampleto mi sol. Trill very fast alternation of two adjacent sounds; abbreviated:tr . Tremolo fast repeated repetition of a tone, sometimes in the range of two steps, sometimes at the same pitch level.Tripartite meter, size time signature, which typically has one strong beat and two weak beats in each bar (3/4, 3/2).Trio string trio: ensemble of violin, viola and cello; piano trio: ensemble of piano, violin and cello.Triol division of the rhythmic beat into three equal parts.Triton an interval consisting of three whole tones and formed in the diatonic scale between the IV and VII steps; in the Middle Ages, the tritone was considered a forbidden interval.Triple tongue sound extraction technique on some wind instruments (trumpet, horn, flute), similar to the double reed, but similar to pronouncing the sounds “t-to-t” in fast triplet passages.Troubadour in southern France in the 12th and 13th centuries. court poet-musician.Trouver in Northern France in the 12th and 13th centuries. court poet-musician.Tutty (tutti) all together; in baroque ensemble music, the term refers to all performers, including solo parts; in more recent orchestral music, the term refers to sections performed by the entire orchestra.Tempus perfectum, tempus imperfectum (lat.) designations of tripartite and bipartite sizes in the late Middle Ages and Renaissance.Tenuto (tenuto) sustained: the designation instructs to sustain the full duration of the note; sometimes it means a slight excess of duration.Terraced dynamics (eng.) sudden changes in dynamic level, typical of baroque music.Increase presentation of a motive or theme when they are repeated in larger durations.Decorations one note or a group of notes, which are written in small print and added to the main melody in order to “colorize”, “decorate” it.Decrease reduction, usually by half, of durations when repeating a motive or theme.Unison 1) theoretically zero interval, the distance between two tones of the same height; 2) practically the performance of a sound or melody by all performers at the same height.Falsetto The highest register of the male voice, which uses the main resonator and which is located above the main range.Fanfare 1) a more or less extended melody played by pipes or other instruments of the same type; in a fanfare, moves on triads are usually used; 2) brass wind instrument.Fermata free pause or delay of a sound or chord; fermata is indicated by the icon or . The final the last part of a multi-part instrumental cycle (in the classical tradition fast and lively) or the final ensemble section of the entire opera or its individual act.Fine (fine) end (traditional designation in the score).Forte (forte) designation of expressiveness: loud; abbreviated f. Piano the name of the most common modern keyboard stringed instrument, referring to its varieties piano and grand piano.Cm. PIANO. Fortissimo (fortissimo) very loud; abbreviated ff. Grace an ornament consisting in the performance of a very short additional sound before the main sound.Phrase a fragment of a melody, which in meaning can be compared with a speech sentence (or with a subordinate clause in a complex sentence).Phrasing clear, expressive performance of a musical phrase and all elements that determine the meaning of musical speech, with the help of flexible changes in tempo, dynamics, accents, etc.Fused using some fugue techniques, most often imitations, such as a fugue allegro.Hemiola a rhythmic device in which the three-part time signature is changed to a two-part one by transferring accents in the bar. This device was widespread in the 15th century and was also used later, especially to enlarge the rhythmic movement in the final sections, before the final cadence.choir 1) an ensemble of singers, usually divided into four parts (soprano, alto, tenor, bass); 2) a group of instruments in a symphony or brass band, combining instruments of the same type (for example, a “string choir”).chordophone, string instrument An instrument in which sound is produced by the vibration of a string.Chromatism the use of altered (not belonging to the main scale) sounds.Chromatic scale scale, consisting only of semitones (12 in an octave).Wholetone scale a scale consisting of whole tones, i.e. which is an octave divided into six equal parts.Loop a musical composition consisting of several parts, where the parts are combined dramaturgically and thematically.digital bass An abbreviated notation of chord accompaniment adopted in the Baroque era using numbers that were placed above or below the notes of the bass voice. A performer on instruments of a harmonic type (harpsichord, organ, lute) could reproduce the full harmonic texture of the work with the help of digital recording.Chantey, shanty (English) labor songs of English and American sailors, performed in a certain rhythm to facilitate work.Part a relatively independent section of a major musical form, usually with a distinct beginning and end.Quarter tone an interval equal to half a semitone.shape note notation An early American type of notation that used four different note shapes: triangle, circle, oval, and star.Sprechstimme (German) “reciting”, Sprechgesang “declamatory singing” vocal writing technique developed by A. Schoenberg and his followers and consisting in the fact that the singer does not reproduce sounds of the exact pitch, but, as it were, glides, glide from one sound to to another; when notating on stems of notes, instead of “heads” “crosses” (). exposition the first section of a number of forms, primarily fugue and sonata form, in which the thematic material of the entire composition is presented (exhibited).Expressionism the visual art style of the first decades of the 20th century, which is usually associated with atonal and dodecaphone music.Electonic music music, the sound material of which is created using a synthesizer.Empfindsamer Style (German) Baroque music performance style, which ignores the conventions inherent in this era and the purpose of which is the direct and free transmission of the emotional content of the work.Anharmonism with equal temperament, the ability to record the same sound in different ways: for exampleA-sharp And b flat . LITERATURE Music Encyclopedia , tt. 15. M., 19731982Kruntyaeva T., Molokova N.Dictionary of foreign musical terms . M. SPb., 1996
Buluchevsky Yu., Fomin V.Brief Music Dictionary . SPb. M., 1998
Brief Musical Dictionary-Reference . M., 1998
Music encyclopedic dictionary . M., 1998
counterpoint
counterpoint, pl. no, m. (German: Kontrapunkt) (music). The art of combining independent, simultaneously sounding melodies into one whole. The highest flowering of counterpoint is the work of Bach and Handel.
Department of music theory, dedicated to the study of the rules of polyphony. Learn counterpoint.
Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.
counterpoint
A, m. In music: the simultaneous movement of several independent melodies, voices that form a harmonic whole (polyphony), as well as the doctrine of such movement.
adj. contrapuntal, -th, -th and contrapuntal, -th, -th.
New explanatory and derivational dictionary of the Russian language, T. F. Efremova.
counterpoint
The art of harmonic combination in a polyphonic musical work of two or more simultaneously sounding independent voices, motives, melodies; just such a combination.
One of the sections of music theory devoted to the study of such combinations.
Melody accompanying the main theme.
Encyclopedic Dictionary, 1998
counterpoint
COUNTERPOINT (German: Kontrapunkt) in music -
simultaneous combination of 2 or more independent melodies in different voices.
The melody that is attached to the given melody.
Same as polyphony.
Mobile counterpoint - repeated polyphonic construction with a change in the intervals between melodies or the time of their entry relative to each other.
Counterpoint
(German Kontrapunkt, from Latin punctum contra punctum, literally ≈ dot against dot) in music:
a type of polyphony in which all voices are equal; in the 20th century often referred to as polyphony. A special form is movable counterpoint—repeating voices of a polyphonic construction with a change in the interval between them (vertically movable chirp) or the time of their entry relative to each other (horizontally movable chirp), as well as a combination of these techniques (doubly movable chirp) ; reversible counterpoint allows the possibility of combining voices when changing the direction of intervals in combined melodies.
In a polyphonic composition - a melody that sounds simultaneously with the theme.
One of the main branches of music theory; in the USSR it is called polyphony.
Wikipedia
Counterpoint
Counterpoint(- note against note, literally - dot vs dot) - a simultaneous combination of two or more independent melodic voices. "Counterpoint" was also called the musical-theoretical discipline that deals with the study of contrapuntal compositions (now polyphony). The musical term "counterpoint" (metonymically) is now used by literary critics, art critics and journalists.
Counterpoint was created as a pedagogical tool with which students could compose musical compositions with a gradual increase in complexity. Part of these compositions was the invariable cantus firmus. The idea appeared no later than 1532, when he described a similar concept in his work "Scintille di musica" (Brescia, 1533). In the 16th century, the Venetian theorist Zarlino developed the ideas of counterpoint in Le institutioni harmoniche, and the first detailed description of counterpoint appeared in 1619 in Prattica di musica. Zacconi supplemented counterpoint with several techniques, such as "counterpoint reversal".
In 1725, the Austrian composer Johann Joseph Fuchs published the theoretical work Gradus ad Parnassum, where he described five types of counterpoint:
- note against note;
- two notes against one;
- four notes against one;
- notes are offset relative to each other;
- a mixture of the previous four approaches.
The contrapuntal style in music is most clearly represented in the choral works of Palestrina (c. 1525-1594) and in the instrumental and choral works of J. S. Bach (1685-1750).
Counterpoint (disambiguation)
Counterpoint:
- Counterpoint is a musical term
- "Counterpoint" - novel by Aldous Huxley
Counterpoint (novel)
"Counterpoint"- novel by Aldous Huxley, published by him in 1928. The novel became the largest work of the writer.
Examples of the use of the word counterpoint in the literature.
With incomparable skill, Bachmann called out and allowed voices counterpoint, evoked with dissonant chords the impression of marvelous harmonies and - in a triple fugue - pursued the theme.
Let the neophyte know what assonance and alliteration are, what rhyme is adjacent and distant, simple and complex, just as we have the right to expect from a musician that he knows harmony and counterpoint, and all the other little things of his craft.
Their tune counterpoint penetrated the presidential suite on the tenth floor, because the windows here - for a more efficient operation of the air conditioner - were hermetically closed.
He appeared on the scene about half an hour before Arnold's decisive call, and the news he brought me serves as a kind of frame, or counterpoint, or the outer shell of Arnold Baffin's drama then and later.
The outstanding Polish composer immediately appreciated the boy's talent and, knowing the unenviable financial situation of the Cui family, began to study music theory with him for free, counterpoint to composition.
They initiated a persistent clove of motive running like an ostinato counterpoint to the previous topic.
But even where music does not seem to be present directly, poetry is often built according to the laws counterpoint- multifaceted, discordant, the action takes place simultaneously in different places and different times.
After all counterpoint and acrostic, with all the differences in the level at which something is hidden in them, have something in common.
Clementi, and the illustrious organist and theorist Abbot Vogler from Darmstadt, after listening to little Meyerbeer, advises him to study counterpoint and a fugue from his student A.
Vienna Conservatory in the class of bass general, counterpoint and organ and moved to Vienna.
Trago, with whom he later studied at the Madrid Conservatory, where he also studied harmony and counterpoint.
So far, we are only interested in the intraatomic counterpoint voices, their combination only within one decomposed consciousness.
Transposing from the language of musical theory into the language of poetics Glinka's position that everything in life counterpoint, we can say that for Dostoevsky everything in life is a dialogue, that is, a dialogical opposition.
Efforts are being made to find opportunities to build and paint their own counterpoint, based on the fact of the many-sided similarity of the physical vibrations of air and light.
These are the elements that make it possible to form a purely pictorial counterpoint and they lead to this counterpoint y.
