This document covers the three musical textures we will encounter in our studies: monophony, polyphony, and homophony. Texture is an element you will use when identifying pieces from all the periods of music history so you’ll want to study this material very carefully. At the end of the reading assignment you’ll find links to three pieces you can listen to; see if you can identify the textures of the pieces based on your reading. Show IntroductionTexture is one of the basic elements of music. When you describe the texture of a piece of music, you are describing the relationship of melodic and (sometimes) harmonic elements with each other. For example, the texture of the music might be thick or thin, or it may have many or few layers. It might be made up of rhythm only, or of a melody line with chordal accompaniment, or many interweaving melodies. Below you will find some of the formal terms musicians use to describe texture. Terms that Describe TextureThere are many informal terms that can describe the texture of a piece of music (thick, thin, bass-heavy, rhythmically complex, and so on), but the formal terms that are used to describe texture all describe the relationships of melodies and, if present, harmonies. Here are definitions and examples of the three main textures you will encounter in our class. MonophonicMonophonic music has only one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line that has specific pitches. Monophonic music can also be called monophony. This texture is used very little in music of the Western European tradition after the Middle Ages. Examples of Monophony
PolyphonicPolyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more than one independent melody is occurring at the same time, the music is polyphonic. Examples of Polyphony
HomophonicHomophonic music can also be called homophony. More informally, people who are describing homophonic music may mention chords, accompaniment, harmony or harmonies. Homophony has one clear melodic line; it’s the line that naturally draws your attention. All other parts provide accompaniment or fill in the chords. In most well-written homophony, the parts that are not melody may still have a lot of melodic interest. They may follow many of the rules of well-written counterpoint, and they can sound quite different from the melody and be interesting to listen to by themselves. But when they are sung or played with the melody, it is clear that they are not independent melodic parts, either because they have the same rhythm as the melody (i.e. are not independent) or because their main purpose is to fill in the chords or harmony (i.e. they are not really melodies). Examples of Homophony
Suggested ListeningMonophony
Polyphony
Homophony
AssignmentOnce you have completed the reading on musical texture, choose one of the pieces listed below and listen to the piece on YouTube. After listening to your selection, please answer the questions below. Two-Part Invention in C Major by Johann Sebastian BachDeum Verum by an anonymous composerRondo Alla Turca by Wolfgang Amadeus Mozart(Texture is most obvious in the first 20 seconds.) Questions
TexturesCheck to see if you correctly identified the textures of the three pieces listed in the reading assignment on musical texture.
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If your menu tonight consists of grilled pork and savory apples, then the pork is the main item and the apples are the accompaniment, meaning they complement the main dish. The noun accompaniment entered English in the eighteenth century and originally was used in a musical sense to describe a part in a song that supports or acts as background for another more prominent part. Its meaning later expanded to include not only musical assistance but other things that completes or make better the main thing. You’ll often hear it used to describe a food that supports the main item on a plate.
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