In music, an ostinato, is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch, well-known ostinato-based pieces include both classical compositions such as Donna Summer, was an American singer, songwriter, and painter, and she gained prominence during the disco era of which late era?
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Ostinato In music, an ostinato ] (derived from Italian: "stubborn", compare English, from Latin: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's "Boléro" and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's Theme from Peter Gunn (1959), and The Verve's "Bitter Sweet Symphony" (1997).
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Donna Summer LaDonna Adrian Gaines (December 31, 1948May 17, 2012), better known by her stage name Donna Summer, was an American singer, songwriter, and painter. She gained prominence during the disco era of the late 1970s. A five-time Grammy Award winner, Summer was the first artist to have three consecutive double albums reach No. 1 on the United States "Billboard" 200 chart and charted four number-one singles in the U.S. within a 12-month period. Summer has reportedly sold over 140 million records worldwide, making her one of the world's best-selling artists of all time. She also charted two number-one singles on the R&B charts in the U.S. and a number-one in the U.K.
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Combination tone A combination tone (also called resultant or subjective tone) is a psychoacoustic phenomenon of an additional tone or tones that are artificially perceived when two real tones are sounded at the same time. Their discovery is credited to the violinist Giuseppe Tartini (although he was not the first, see Sorge) and so are also called Tartini tones.
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Tina Ann Tina Ann Amato is a classically trained vocalist from Long Island, New York, who has had success on the Hot Dance Music/Club Play and Hot Dance Airplay charts.
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Fermata A fermata ] ("from "fermare", to stay, or stop," also known as a hold, pause, colloquially a birdseye or cyclops eye, or as a grand pause when placed on a note or a rest) is a symbol of musical notation indicating that the note should be prolonged beyond the normal duration its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is common. It is usually printed above but can be occasionally below (when it is upside down) the note to be extended.
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Melody A melody ("singing, chanting"), also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include successions of other musical elements such as tonal color. It may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody.
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Aleatoric music Aleatoric music (also aleatory music or chance music; from the Latin word "alea", meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
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Tonal memory In music, tonal memory or "aural recall" is the ability to recall a previously sounded with tone. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability.
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Double variation The double variation (also known as alternating variations) is a musical form used in classical music. It is a type of theme and variations that employs two themes. In a double variation set, a first theme (to be called A here) is followed by a second theme (B), followed by a variation on A, then a variation on B, and so on with alternating A and B variations. Often there is a coda at the end.
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Passacaglia The passacaglia ( ; ] ) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre.
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Musique mesurée Musique mesurée à l'antique (] ) was a style of vocal musical composition in France in the late 16th century. In "musique mesurée", longer syllables in the French language were set to longer note values, and shorter syllables to shorter, in a homophonic texture but in a situation of metric fluidity, in an attempt to imitate contemporary understanding of Ancient Greek music. Although this compositional method did not attain popularity at first, it attracted some of the most famous composers of the time. Its basis in a desire to re-create the artistic ethos of Ancient Greece, especially in respect to text declamation, had a strong similarity to contemporary movements in Italy, such as the work of the Florentine Camerata which engendered the first operas, and brought about the beginning of the Baroque era in music.
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Falseta A Falseta is part of Flamenco music. They are usually short melodies played by the guitarist(s) in between sung verses, or to accompany dancers. In a guitar solo, the artists play already created falsetas or improvise new falsetas which are then put together to form the whole piece. A falseta can be roughly comparable to an improvised lick in jazz or blues music.
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Melodic pattern In music and jazz improvisation, a melodic pattern (or sequence) is a repetitive pattern or figure that can be used with any scale. It is used primarily for use in solos because, when practiced enough, it can be extremely useful when improvising. "Sequence" refers to the repetition of a part at a higher or lower pitch, and melodic sequence is differentiated from harmonic sequence. One example of melodic sequence are the pitches of the first line, "Send her victorious," repeated, a step lower, in the second line, "Happy and glorious," from "God Save the Queen".
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DSCH motif DSCH is a musical motif used by the composer Dmitri Shostakovich to represent himself. It is a musical cryptogram in the manner of the BACH motif, consisting of the notes "D, E flat, C, B natural", or in German musical notation "D, Es, C, H" (pronounced as "De-Es-Ce-Ha"), thus standing for the composer's initials in German transliteration: "D. Sch." (Dmitri Schostakowitsch), also pronounced as "De-Es-Ce-Ha."
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Reprise In music, a reprise ( ) is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs.
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Reciting tone In chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches. In Gregorian chant, reciting tones are used for a number of contexts, including the chanting of psalm tones. Each mode has its own associated psalm tone, whose primary pitch is variously called the "dominant", "tenor", or "tuba".
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Garrotín Garrotín is a style (palo) of flamenco singing, dancing, and guitar playing, which developed near the end of the nineteenth century in Asturias, in northern Spain. It is played or sung in a Major mode, and a simple 2/4 meter, and has a cheerful and festive character. After being introduced into the flamenco repertoire, "garrotín" was further developed by singer Pastora Pavón ("Niña de los Peines"), and has been recently popularized by dancer, Carmen Amaya.
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Dance music Dance music is music composed specifically to facilitate or accompany dancing. It can be either a whole musical piece or part of a larger musical arrangement. In terms of performance, the major categories are live dance music and recorded dance music. While there exist attestations of the combination of dance and music in ancient times (for example Ancient Greek vases sometimes show dancers accompanied by musicians), the earliest Western dance music that we can still reproduce with a degree of certainty are the surviving medieval dances. In the Baroque period, the major dance styles were noble court dances (see Baroque dance). In the classical music era, the minuet was frequently used as a third movement, although in this context it would not accompany any dancing. The waltz also arose later in the classical era. Both remained part of the romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka, ecossaise, ballade and polonaise.
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Hocket In music, hocket is the rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.
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Portato Portato ] (Italian, past participle of "portare", "to carry"), French notes portées , in music denotes a smooth, pulsing articulation and is often notated by adding dots under slur markings.
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Serial imagery Serial imagery is the repeating of one image in many variations or forms. It is a central idea in modern and contemporary art. It can take several forms. A portrait can painted in differing hues and backgrounds with subtle changes to the subject as in Van Gogh's L'Arlésienne and Claude Monet’s Rouen Cathedral Another type is where the same subject is painted at different times of day or seasons of the year for example Claude Monet in his Poplars, Haystacks. The same subject may also be rendered in different mediums, and in different poses, thus, the practice of underpainting may be considered a form of serial imagery even if the image is lost in the completed work. It is common in photography where multiple exposures at varies angles are taken with different lenses etc. in search of the desired effect. It is also used in literature, especially poetry.
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Sound collage In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages were produced by gluing together sectors of different vinyl records. In any case, it may be achieved through the use of previous sound recordings or musical scores. Like its visual cousin, the collage work may have a completely different effect than that of the component parts, even if the original parts are completely recognizable or from only one source.