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Melody

From Wikipedia, the free encyclopedia
(Redirected fromMelodic)
Linear succession of tones in the foreground of a musical work
This article is about melody in music. For other senses of this word, seeMelody (disambiguation).
"Melodic" redirects here. For other uses, seeMelodic (disambiguation).
"Foreground (music)" redirects here. For more specific musical uses, seeStructural level.
Not to be confused withMedley (music).

A bar fromJ. S. Bach'sFugue No. 17 in A-flat,BWV 862, fromThe Well-Tempered Clavier (Part I), an example ofcounterpoint. The two voices (melodies) on eachstaff can be distinguished by the direction of thestems andbeams.
Voice 1
Voice 2
Voice 3
Voice 4

Amelody (from Greek μελῳδία (melōidía) 'singing, chanting'),[1] alsotune,voice, orline, is a linear succession ofmusical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination ofpitch andrhythm, while more figuratively, the term can include other musical elements such astonal color. It is the foreground to the backgroundaccompaniment. A line orpart need not be a foreground melody.

Melodies often consist of one or more musicalphrases ormotifs, and are usually repeated throughout acomposition in various forms. Melodies may also be described by theirmelodic motion or the pitches or theintervals between pitches (predominantlyconjunct or disjunct or with further restrictions), pitch range,tension and release, continuity and coherence,cadence, and shape.

Function and elements

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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 melody. Therefore, the question of which is the more significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end.

— Johann Philipp Kirnberger (1771)[2]

The Norwegian composerMarcus Paus has argued:

Melody is to music what a scent is to the senses: it jogs our memory. It gives face to form, and identity and character to the process and proceedings. It is not only a musical subject, but a manifestation of the musically subjective. It carries and radiates personality with as much clarity and poignancy as harmony and rhythm combined. As such a powerful tool of communication, melody serves not only as protagonist in its own drama, but as messenger from the author to the audience.

— Marcus Paus (2017)[3]

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

The melodies existing in most European music written before the 20th century, and popular music throughout the 20th century, featured "fixed and easily discernible frequencypatterns", recurring "events, often periodic, at all structural levels" and "recurrence of durations and patterns of durations".[4]

Melodies in the20th century "utilized a greater variety of pitch resources than ha[d] been the custom in any other historical period ofWesternmusic." While thediatonic scale was still used, thechromatic scale became "widely employed."[4] Composers also allotted a structural role to "the qualitative dimensions" that previously had been "almost exclusively reserved for pitch and rhythm". Kliewer states, "The essential elements of any melody are duration, pitch, and quality (timbre),texture, and loudness.[4] Though the same melody may be recognizable when played with a wide variety of timbres and dynamics, the latter may still be an "element of linear ordering."[4]

Examples

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"Pop Goes the Weasel" melody
Melody fromAnton Webern's Variations for orchestra, Op. 30 (pp. 23–24)[6]

Differentmusical styles use melody in different ways. For example:

See also

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References

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  1. ^μελῳδία.Liddell, Henry George;Scott, Robert;A Greek–English Lexicon at thePerseus Project.
  2. ^Forte, Allen (1979).Tonal Harmony in Concept & Practice, p. 203.ISBN 0-03-020756-8.
  3. ^Paus, Marcus (6 November 2017)."Why melody matters".Gramophone.
  4. ^abcdeKliewer, Vernon (1975). "Melody: Linear Aspects of Twentieth-Century Music",Aspects of Twentieth-Century Music, pp. 270–301. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.ISBN 0-13-049346-5.
  5. ^Narveson, Paul (1984).Theory of Melody.ISBN 0-8191-3834-7.
  6. ^Marquis, G. Weston (1964).Twentieth Century Music Idioms, p. 2. Prentice-Hall, Inc., Inglewood Cliffs, New Jersey.

Further reading

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  • Apel, Willi.Harvard Dictionary of Music, 2nd ed., pp. 517–19.
  • Cole, Simon (2020). just BE here – the guide to musicking mindfulness
  • Edwards, Arthur C.The Art of Melody, pp. xix–xxx.
  • Holst, Imogen(1962/2008).Tune, Faber and Faber, London.ISBN 0-571-24198-0.
  • Smits van Waesberghe, Joseph [nl] (1955).A Textbook of Melody: A course in functional melodic analysis,American Institute of Musicology.
  • Szabolcsi, Bence (1965).A History of Melody, Barrie and Rockliff, London.
  • Trippett, David (2013).Wagner's Melodies. Cambridge University Press.
  • Trippett, David (2019). "Melody" inThe Oxford Handbook to Critical Concepts in Music Theory. Oxford University Press.

External links

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F (bass) clef symbol
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