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B. Strict imitation
1. canon: each voice enters in succession with the
same melody
2. round: perpetual canon (e.g., Row, Row, Row
Your Boat)
OVERVIEW
The intermingling of melody and harmony provides the basis
of musical texture. More specifically, texture can be described
as monophonic, homophonic, polyphonic, or homorhythmic,
depending on how harmony and melody interact with each
other in a musical passage. This chapter introduces students
to the basic types of textures in Western art music.
LEARNING OBJECTIVES
1. To understand texture as the interweaving of melody
with harmony
2. To understand and identify the basic textures of monoph–
ony, homophony, polyphony, and homorhythm
3. To understand and identify the contrapuntal devices of
imitation, canon, and round
LECTURE SUGGESTIONS
1. After defining monophonic, polyphonic, homophonic,
and homorhythmic texture, play the following se lections
for the class:
Hildegard of Bingen: Kyrie
J. S. Bach: Jesu, Joy of Man’s Desiring (at 0:20)
OUTLINE
I. Types of Texture
A. Monophony
1. single voice (sung or instrumental)
2. one line of music without accompaniment
3. one focus, single line of melody
B. Heterophony
1. melody combined with ornamented version of
itself
a. several musicians sing/play same musical line,
each varies some ele ment (e.g., pitch or rhythm)
b. subtle, nuanced variations
c. may sound “out of sync”
2. common texture in non- Western cultures
3. jazz and spirituals depend on heterophonic
texture
C. Polyphony
1. two or more melodic lines combined
2. based on counterpoint
3. requires more experienced listening
D. Homophony
1. melody (primary focus) with harmonies
a. chords support, enhance principal line
2. traditional and popu lar styles
3. homorhythmic: all voices move in same rhythm
a. vertical conception; hymns
b. melody: most obvious line
E. Textures may vary within a composition
II. Contrapuntal Devices: Types of Polyphony
A. Imitation
1. melodic idea presented then restated in another
voice
2. may be brief, or may last the entire work
3. unifying technique in polyphony
CHAPTERfi5 Musical Texture
16 | Chapterfi5
visual models can be helpful in demonstrating the sound and
pieces of classical music, using lines, shapes, patterns, and
colors. Stephen Malinkowski (username “smalin”) is the
most popu lar creator of these animations, using a software
YOUR TURN TO EXPLORE
The singing and playing of The Star– Spangled Banner at
sporting events and other live venues in the United States is
much more than a patriotic formality; it has grown to become
must decide how they will approach singing or playing the
piece, and texture often plays an impor tant role in these deci–
sions. Listen to four iconic per for mances of The Star-
Spangled Banner listed below. Identify the vari ous types
of textures pres ent in these per for mances, and comment on
on the audiences in attendance?
MODEL RESPONSES
of the human voice; pedal effects and double stops
create allusions to homophony and polyphony; dis-
tortion and drums add “noise” ele ment that evokes
conflict and irony (po liti cal response?).
Haydn: Surprise Symphony, II (opening phrase)
After playing each excerpt, pause and ask the class
how many melodic lines they can identify. It may help
to see the musical notation of the examples, even if they
cannot read music. Ask students to count how many
in de pen dent melodic lines they see and hear as the music
plays. Again, replay the excerpts to confirm correct
responses or clarify wrong ones.
2. Divide the class into two groups. Have the class stand
up and direct them to sing Row, Row, Row Your Boat as
ASSIGNMENT SUGGESTIONS
1. Identify the musical textures of the following se lections.
Pay close attention to how many melodic lines you are
hearing:
2. The African American spiritual Swing Low, Swing
Chariot, as performed and recorded in the online play–
list, contains contrasting musical passages that explore
three dif fer ent textures (monophony, homophony, and
TEACHING CHALLENGES
listener’s attention solely to the text and the quality
of the singer’s voice; evokes a sense of privacy,
contemplation, perhaps also an “authenticity” in
polyphonic section (“And the rockets’ red glare”);
offset from the opening and ending, evoking the
change evident in this more “violent” and active sec-