the synthesizer has virtually no standard repertoire.

#The synthesizer has virtually no standard repertoire. how to#
#The synthesizer has virtually no standard repertoire. series#

Those melodies were then manipulated or repeated in accord with harmonic principles and constituted sections in tonic, dominant, and so on. With the emergence of the string quartet and sonata form toward the middle of the 18th century, thematic materials most often took the shape of relatively long melodies-whatever their contour or mood. Alternation of dramatic and lyric moods, further, is most often characteristic of post-1750 chamber music.

#The synthesizer has virtually no standard repertoire. series#

The typical fast movement of a trio sonata, say, consists of a series of phrases largely similar in contour and mood and differentiated primarily by harmonic considerations whereas the typical sonata-form movement is characterized by having two or more themes embodying sharp contrasts of mood and shape, and further contrasted by means of texture, instrumentation, and harmonic colour. In this sense, the majority of chamber music works composed before 1750 are monothematic in style those after about 1750 are polythematic. “Style” may be defined in this context as the sum of the devices-melodic, structural, harmonic, and all the rest-that a composer consistently employs, that a class of works regularly exhibits, or that a particular age finds most useful for its aesthetic purposes. In style, too, there has been a continuing series of changes.

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#The synthesizer has virtually no standard repertoire. how to#

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