Each fugue has its own structure that changes according to the composers invention and needs. Aside from the opera, composers also wrote numerous sonatas, concerto grosso, and choral works. CHOREOGRAPHIC FORMS IN DANCE I. Sequential II.Contrapuntal III.Episodic IV.Other compositional forms 66. Forms: The Fugue. It is important to point out that composers at the time were employed by the Church or by aristocrats and as such, were expected to produce compositions in large volumes, at times in a moment's notice. a. ethnic, ballet, modern, jazz b. street, folk, theatre c. social/recreational, theatre d. In part 2, I wrote about drone polyphony. 1. a. Italy b. France c. Russia d. United States 2. This contrapuntal dance is composed of fixed movement material with some instances of structured improvisation. In part 1, I wrote about parallel polyphony. CHOREOGRAPHIC FORMS SEQUENTIAL FORMS: Narrative, Simple Binary form (AB), Tenery Form (ABA), Theme and Variation, Rondu (ABACA), Non-Specified Sequential Form. The form of a dance determines the way it is organized. Multiple Choice: CIRCLE the letter of the best answer. CONTRAPUNTAL FORMS A. CONTRAPUNTAL FORMS: Situation, Dance by Chance, Canon (Round), Ground Bass and Fugue. After the exposition the composer alternates between episodes and subject presentations. Where did ballet, as a theatre art, really start and develop? This is also referred to as “free polyphony”. When they do, it can take many different forms. Traditional music of East Asia tends to utilize multiple melodies rather than balancing a single melody against harmonies. In music theory, contrapuntal music appears in many forms. This is similar to the way musical forms like the suite, symphony or concerto shape their overall contour or identity. CHOREOGRAPHIC FORMS IN DANCE 65. The Exposition. While there is no set terminology, members of the company most often refer to the different segments of fixed movement as themes. CONTRAPUNTAL FORMS I. Not every culture has polyphonic or multi-part singing. Once the choreographer has conceived key movement phrases, he or she can combine, manipulate and organize them into longer sequences, paying attention to:. Making Dance The Choreographer's Toolbox Form & Structure . B. Ground bass II.Round or Canon III.Fugue or Accumulation IV.Suite 68. In part 3, I wrote about canonic polyphony. PART 1: DANCE HISTORY A. 16th Century Dance Forms The increasingly diverse repertory of dances in the 16th century is reflected in the large variety of dance compositions in the collections of lute, keyboard, and ensemble music of the time. contrapuntal polyphony. What is the best way to categorize the forms of dance? In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. A fugue begins with an exposition. Musical Forms From the Baroque Period . Form . As a compositional technique, counterpoint is found in many musical styles including Medieval music, gamelan, [not verified in body] and the music of West Africa. 1. This week it’s contrapuntal polyphony. The 25 main themes are repeated and recombined over the course of the dance in their full and partial forms. Ground Bass – single theme starts the dance and is repeated all the way through the dance while other contracting themes are simultaneously performed with it. SEQUENTIAL FORMS I. AB (two-part) form II.ABA (three-part) form III.Rondo Form (ABACA) IV.Themes and variations form 67. Ii.Round or Canon III.Fugue or Accumulation IV.Suite 68 aside from the opera, composers also wrote numerous sonatas concerto. 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