Melodics


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Melodics

 

(in Russian, melodika). (1) The study of melody.

(2) The melodic characteristics of a musical work, or of part or all of a composer’s works. Melodies also studies individual schools of composition and folk music.

References in periodicals archive ?
This paper aims at discussing the complexity involved in the analysis of the phenomena associated to melodic variation in speech.
Naturally while the orchestra was active and the Mannheim composers were presenting their pieces certain characteristic compositional techniques (especially melodic styles) were already noted, but without these being made the starting point for any general authoritative conclusions.
1) A new way of formulating the melodic idea and developing the musical structure that is not derived from the progression of the bass (the old figured bass practice) but directly from the character of the melody--theme.
The originally Slovak Roma settled in the Bohemian Lands base instrumental accompaniment (in various combinations) on the contrast between the main melodic instrument (most often the violin) and the rhythmic-harmonic instruments (dulcimer, accordion, guitar).
We find something similar, for example, in the symphonic rhapsody Taras Bulba, where at times it is as if Janacek was longing for a Straussian and Novak-Suk style orchestra only to return to the conventions that he had developed for himself and was not about to abandon (fourth chords and melodic backgrounds no longer in the position of background, a preference for composing in layers, abandonment of two-, four- or eight-bar phrasing and the evolutionary motif-thematic stereotype, and especially the employment of montage techniques).
To the techniques characteristic of the different stages of his development as a secular composer he added a few italianisms in melodics, most frequently akin to Verdi - particularly in the Stabat mater, but also in the Requiem and the Te Deum, but no longer when it came to the Mass in D major and not at all in the Biblical Songs, which in musical idiom belong in full to the American period and the broader framework of Dvorak' highly individual lyrical musical language.
Novak soon found a deeper way of integrating elements of Moravian and Slovak song with his own melodics and (ever more individual and audacious) harmonic imagination, directly quoting only rarely, and instead simply finding inspiration in particular melodic phrasing, modality or rhythm.
His huge melodic inventiveness and sense of the dramatic secured Fiser, alongside Zdenek Liska, for example a leading placae among the creators of Czech film music.
Apart from imitation of the various techniques of play on this instrument, the piece clearly shows the influence of the melodics of Jewish folk music, a source that the composer often draws on elsewhere.
In the solo Shoten Kango no san (track 2) and the immediately following Alleluia Magnus Dominus (track 3) we are already given a very vivid impression of the characteristic differences in work with the vocal melodic line.
Zelenka sometimes seems to draw on the melodic archetype of a broad ascending-descending melodic arch identifiable in Czech music from the Hussite Paternoster of the earlier 15th century and appearing frequently in Czech folk music of a later date.