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| [[Monophonia|Monophonica]]
| 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).
| [[ImageFasciculus: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''}}
|[[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 2009). Polyphonic textures may contain several PMs (Benward & Saker 2009).
|[[FileFasciculus: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]]}}
|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).
|[[FascoculusFasciculus: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]]}}
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 totaetotius texturae musicae simul fiant, contra nonnullas texturas ex ordine factas.
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).
==Nexus externi==
*[http://www.uwosh.edu/faculty_staff/liske/musicalelements/textureframes.html "A Guide to Musical Texture,"] www.uwosh.edu
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