Melody – Wikipedia

analogue succession of musical tones in the foreground of a cultivate of music
This article is about melody in music. For other senses of this news, see Melody ( disambiguation ) “ melodic ” redirects here. For other uses, see Melodic ( disambiguation ) “ Foreground ( music ) ” redirects here. For more specific musical uses, see structural floor

A melody ( from Greek μελῳδία, melōidía, “ tattle, chanting ” ), [ 1 ] besides tune, voice or line, is a linear sequence of melodious tones that the hearer perceives as a single entity. In its most literal sense, a tune is a combination of slope and rhythm method of birth control, while more figuratively, the term can include other melodious elements such as tonal color. It is the foreground to the background complement. A line or separate need not be a foreground melody. Melodies frequently consist of one or more musical phrases or motifs, and are normally repeated throughout a composition in assorted forms. Melodies may besides be described by their melodious gesticulate or the pitches or the intervals between pitches ( predominantly conjunct or disjunct or with further restrictions ), lurch range, tension and spill, continuity and coherence, cadence, and form .

function and elements [edit ]

Johann Philipp Kirnberger argued :

The true goal of music—its proper enterprise—is melody. All the parts of harmony have as their ultimate purpose only beautiful tune. consequently, the question of which is the more significant, tune or harmony, is futile. Beyond doubt, the means is subordinate to the end .Johann Philipp Kirnberger (1771)[2]

The norwegian composer Marcus Paus has argued :

melody is to music what a aroma is to the senses : it jogs our memory. It gives face to form, and identity and quality to the action and proceedings. It is not only a musical national, but a manifestation of the musically subjective. It carries and radiates personality with vitamin a much clarity and pathos as harmony and rhythm method of birth control combined. As such a knock-down cock of communication, tune serves not merely as supporter in its own play, but as messenger from the author to the hearing .Marcus Paus (2017)[3]

Given the many and varied elements and styles of tune “ many extant explanations [ of tune ] confine us to specific stylistic models, and they are besides exclusive. ” [ 4 ] Paul Narveson claimed in 1984 that more than three-quarters of melodious topics had not been explored thoroughly. [ 5 ]

The melodies existing in most european music written before the twentieth hundred, and popular music throughout the twentieth hundred, featured “ fixed and well discernible frequency patterns “, recurring “ events, much periodic, at all structural levels ” and “ recurrence of durations and patterns of durations ”. [ 4 ] Melodies in the twentieth century “ utilized a greater variety of flip resources than hour angle [ five hundred ] been the custom in any early historic period of western music. ” While the diatonic scale was calm used, the chromatic scale became “ widely employed. ” [ 4 ] Composers besides allotted a morphologic function to “ the qualitative dimensions ” that previously had been “ about entirely reserved for slope and rhythm ”. Kliewer states, “ The essential elements of any melody are duration, pitch, and quality ( timbre ), texture, and flashiness. [ 4 ] Though the lapp tune may be recognizable when played with a broad assortment of timbres and dynamics, the latter may still be an “ component of linear order. ” [ 4 ]

Examples [edit ]

different melodious styles use melody in different ways. For example :

See besides [edit ]

References [edit ]

promote recitation [edit ]

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