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Related to homophonic: Homophonic texture


(hōmŏf`ənē), species of musical ensemble texture in which all voice parts move more or less to the same rhythm, in which a listener tends to hear the highest voice as the melody and the lower voices as its accompaniment. This term is also used for a texture comprising a melodic line with chordal accompaniment



a type of many-voiced music characterized by the division of voices into the main voice and accompanying voices. It is primarily in this respect that homophony is different from polyphony, which is based on the equality of voices. The flourishing of homophony, for which the humanist ideas of the Renaissance paved the way, took place in the 17th to 19th centuries. Individualized melody, accompanied by the remaining elementary voices, came to be regarded as the element of music which could most naturally and flexibly convey the richness of human feelings. Homophony became established primarily in the new musical genres (opera, oratorio, cantata, and solos with accompaniment) and in instrumental music. The wide dissemination of homophony in Western European music paralleled the rapid development of harmony in the modern meaning of the term. The development of homophony in the 17th through 19th centuries is conventionally divided into two periods. The first of these (1600–1750) is often designated as the period of the general bass (although the greatest polyphonist composers, J. S. Bach and G. F. Handel, lived and worked at this time). The first half (1750–1825) of the second period (1750–1900) is marked by the further development of homophony in the work of the classical Viennese composers. The developed and polyphonized “accompanying” voices in the symphonies and quartets of W. A. Mozart and L. van Beethoven, in their liveliness and thematic significance, often surpass the contrapuntal lines of the old polyphonists, thereby exceeding the confines of the homophonic style of music. In the early 20th century the development of harmony, fundamental to homophonic forms, attained a point beyond which the connective strength of harmonic relations lost its constructive significance. Therefore, together with the continuing development of homophony (S. S. Prokofiev, M. Ravel, and others), interest in the possibilities of polyphony is growing markedly (B. Bartok, P. Hindemith, I. F. Stravinsky, A. von Webern, D. D. Shostakovich, etc.).


References in periodicals archive ?
Begins with trumpet' and to the end of the music, for example, 'The homophonic marching band finishes the piece'.
Stanzas 1 and 2 are homophonic translations of an order 3 Travesty of
Finally, the homophonic nonwords may only be read correctly by the lexical strategy, since, if read by the logographic strategy, they are accepted, since they possess an overall similar visual form to the correct word, and, if read by the alphabetic strategy, they would also be accepted, since the resulting auditory form would be similar to the correct word.
Brahic is well aware of the difficulties involved in rendering the motifs of Cixous's thought (such as the French homophonic word niais linking denial and simplicity in The Day I Wasn't There) and proposes substitutes that do justice to Cixous's concatenation of sound and meaning.
Indexicals pose a problem for truth-conditional approaches; as Kaplan (1989) rightly emphasized, their contribution to the truth-condition of utterances including them depends on context, so that, if we attempt a homophonic specification, the indexical used on the right hand side will typically have a different truth-conditional import than the one mentioned on the left hand side.
Or maybe it's the lonely chant melody from an ancient European tradition coupled with the rhythmic, homophonic African chorale that moves me.
The smaller, adult chorus sounded the broad, homophonic chords of the Kyrie and then, like the youth chorus, responded to every suggestion of Rilling's baton.
Since at-least the publication of Louis and Celia Zukofsky's Catullus, there has been a branch of translation which relies on homophonic equivalents in the target-language, rather than finding semantically based equivalences.
The more items added to a grammar, the easier it is for recognition to go wrong, confusing a spoken word for some other homophonic option.
Tucapsky's largely homophonic and uncomplicated choral writing (he seems not go in for fugues or complex textures) is highly effective, although much of the drama in the text is conveyed by his orchestration.
He took the name because of its homophonic resemblance to the French phrase "J'en ai marre" (I'm fed up); and indeed, Emar had the right to be fed up: with the literati of Chile, who ignored his writing throughout his life and beyond.