Music Terminology - Texture

Question 1

Monophonic

Answer 1

Having a single unaccompanied melody. Sometimes this can also include a single melody line in octaves.

Question 2

Homophonic

Answer 2

A primary part (melody) is supported by one or more additional strands that flesh out the harmony. There are usually 2 types:

1. Melody and Accompaniment - Melody with any type of harmonic support.
2. Homorhythmic - Where the underlying harmonic accompaniment has the same rhythm as melody (e.g. Bach Chorales).

Question 3

Polyphonic

Answer 3

Two or more parts each having a melody of its own. These will usually compete with one another for the listeners attention.

Question 4

Contrapuntal

Answer 4

Often interchangeable with “polyphony”, however, they are not the same. Counterpoint is the study of the rules for making melodic lines independent. These “contrapuntal” passages will inevitably end with polyphonic textures.

Question 5

Heterophonic

Answer 5

Simultaneous variation of a single melody line. Usually, 2 instruments will play the same melody line with one of the parts having the occasional embellishment; this could include passing tones, trills, mordents, turns, etc.

Question 6

Unison

Answer 6

Where 2 or more instruments will play the exact same melody at the same pitch.

Question 7

Chordal

Answer 7

Related to chords

Question 8

Imitation

Answer 8

The repetition of a melody (in a polyphonic texture) shortly after its first appearance but in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its “original character”.

Question 9

Melody-Dominated (Driven) Homophony

Answer 9

Refers to a texture that focuses on the main melody with accompaniment coming from different voices and instruments. There is generally a “main character”/ “supporting role” relationship.

Question 9

Melody-Dominated (Driven) Homophony

Answer 9

Refers to a texture that focuses on the main melody with accompaniment coming from different voices and instruments. There is generally a “focus” “supporting role” relationship.

Question 10

Countermelody

Answer 10

A subordinate melody accompanying a principal one.

Question 11

Counterpoint

Answer 11

Refers to the rules that govern independent melody lines. This will usually address the interdependence of harmony and the appropriate use of rhythmic variation and part entry.

Question 12

Descant

Answer 12

Mostly found in vocal music, but not exclusively. Refers to an independent treble melody sung or played above a basic melody. In choral music, this would be a high soprano/high male part introduced for the final refrain/chorus.

Question 13

Round

Answer 13

Also called a perpetual canon is a musical composition in which a minimum of three voices sing exactly the same melody but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together.

Question 14

Canon

Answer 14

Similar to a round, except the voices don’t need to be exact imitations. The later entries can be varied and manipulated in a host of different ways to generate other harmonies.

Question 15

Drone

Answer 15

Music that uses a continuous sustained tone/note. This note is referred to as a drone, and the wider musical practice of employing such a note as a feature of the texture is called “drone music”.

Question 16

Layering

Answer 16

Refers to multiple musical parts that are “stacked” on top of one another. This is similar to the recording process of the same name. Commonly found in Minimalist music.

Question 17

Stretto

Answer 17

In music, “stretto” can have 2 meanings:

1 . In a fugue, stretto is the imitation of the subject in close succession, so that the answer enters before the subject is completed.
2. In non-fugal compositions, a stretto is a passage, often at the end of an aria or movement, in a faster tempo.

Question 18

Antiphonal (Antiphony)

Answer 18

Common in church music, or a section of a church liturgy that is sung, recited or played alternately by two groups. This will usually be in a “call and response” manner.

Question 19

Fugal

Answer 19

Relating to a fugue.

A fugue is a compositional procedure characterised by the systematic imitation of a principal theme (called the subject) in counterpoint between voices. This will be developed into a full musical form/structure. More complex than a canon or round.

Question 20

Improvisation

Answer 20

Where parts of the music are “made up” by performers in the moment.