Harvard Dictionary
`of Music
`
`Second Edition, Revised and Enlarged
`
`Willi Apel
`
`The Belknap Press of Harvard University Press
`
`Cambridge, Massachusetts
`
`Verizon Wireless
`Exhibit 1031-0001
`
`

`

`1
`
`©Copyright 1944 and 1969 by the President and Fellows of Harvard College
`Copyright © 1972 by Willi Apel
`All rights reserved
`
`Ninth Printing, 1975
`
`Library of Congress Catalog Card Number 68-21970
`ISBN 0-674-37501-7
`
`Burton L. Stratton, Typographer
`
`Composed on the lntertype Fotosetter by Graphic Services, Inc.
`
`Printed & Bound by Halliday Lithograph Corporation
`
`Printed in the United States of America
`
`Verizon Wireless
`Exhibit 1031-0002
`
`

`

`'JRD
`
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`,ries'
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`
`HERMANNUS LETTERS
`
`Hermannus letters. A system of letters used by
`Hermannus Contractus (d. 1054) in order to
`clarify the intervals in nondiastematic MSS
`(e = equalis,
`i.e., unison, s = semitone, t =
`tone, etc.). See A. Mocquereau, in CP Riemann.
`Hermeneutics. The term, which properly means
`interpretation of the Scriptures, was introduced
`into -musical aesthetics by H. Kretzschnlar
`(c. 1900) for his method of "interpreting" musi(cid:173)
`cal motifs as the expression of human emotions,
`etc. This method, which was also adopted by
`R. Lach and A. Schering, is similar in principle
`to the Affektenlehre of the 18th century but
`places more emphasis on scientific method and
`systematic investigation based on the study of
`intervals, motion, . rhythm, rests, etc. See Aes(cid:173)
`thetics of music III (a). See H. Kretzschmar, in
`JMP ix, xii; A. Schering, in Bericht: Kongress
`for Aesthetik und allgemeine Kunstwissenschaft
`(1914); id., in KJ xxi; id., in Zeitschrift for
`Asthetik und allgemeine Kunstwissenschaft ix
`(1914); R. Lach, in CP Kretzschmar.
`Hero's Life, A. See Heldenleben, Ein.
`Hervorgehoben [G.]. Emphasized.
`Hesitation waltz. See Boston.
`Heterophony. A term used by Plato (Laws vii,
`· 812 .[)) anci_ adopted_ by modern musicologists
`(fitst by C. Stumpf) to describe -arCimptovisa(cid:173)
`tional type of polyphony, namely, the simulta(cid:173)
`neous use of slightly or elaborately modified
`versions of the same melody by two (or more)
`performers, e.g., a singer and an instrumentalist
`adding a few extra tones or ornaments to the
`singer's melody. In addition to other polyphonic
`forms, heterophonic treatment plays an impor(cid:173)
`tant role in many genres of primitive, folk, and
`non-Western art music (Chinese, Japanese,
`Javanese, etc.). Javanese and Balinese orchestral
`(gamelan) music in particular is largely based
`on· a complex and highly sophisticated form of
`this technique. See Java III and the illustration,
`p. 438f. See also HAM, nos. 2 (Japan) and 3
`(Siam).
`Adopting the term as a convenient designa(cid:173)
`tion for a rather well-defined type of non(cid:173)
`harmonic ·polyphony in which the intent is
`mono-melodic and horizontal is not tantamount
`to answering the question of what Plato meant in
`the passage indicated above. The basic meaning
`of Plato's text is that "the heterophony and
`diversity of the lyre, with the tune of the chords
`being different from the poet's melody, the use
`of tightness and looseness [small and wide inter-
`
`HEXACHORD
`
`vals?], of speed· and slowness, of height and
`depth [pitches?]-all these in 'symphony' or
`'antiphony' [agreement or contrast?]-, also the
`diversity of rhythm in the sounds of the lyre: are
`not suitable for the education of young people:"
`From this description it is clear that ancient
`Greek heterophony involved a difference be(cid:173)
`tween the melody of the lyre and that of the
`singer. Whether the subsequent references to
`different intervals, speeds, pitches, and rhythms
`are details of heterophony or elements of
`"Greek polyphony" is not clear.
`Lit.: H. Gorgemanns and A. J. Neubecker, in
`AMW xxiii; C. Sachs, The Rise of Music [1943],
`pp. 256ff; id., The Wellsprings of Music (1962),
`pp. 185ff; J. Handschin, Musikgeschichte, p. 61;
`P. Barry, in MQ v; G. Adler, in JMP xv;
`A. Dechevrens, "Etude sur le systeme musicar
`chinois" (SIM ii).
`Heure espagnole, L' [F., The Spanish Hour].
`Opera in one act by Ravel (libretto. by Franc(cid:173)
`Nohain, based on his own comedy), produced in
`Paris, 1911. Setting: Toledo, Spain, 18tb.ce~tury.
`Tl:).e music is in a delicate impressionist style.
`Hexachord. I. In medieval theory, a group of
`six tones following each other in the ititervallic
`sequence of t t s t t, (t = tonus, whole tone; s =
`semitonus, half tone), e.g., cdefga. In the
`diatonic (C major) scale there are two-and only
`two-hexachords, . one begillnirig with . c,- the(cid:173)
`other with g. If, however, the b-fiat is added,
`there is a third hexachord, starting on f. The
`hexachord on c was called hexachordum natu(cid:173)
`rale; that on g hexachordum durum, because it
`included the b durum, i.e., b natural {see Letter
`.Q.otation]; that on f hexachordum molle, because
`it included the b molle, i.e., b-fiat. Since medieval
`theory did not consider tones of higher or lower
`octaves "identical," there were seven hexachords
`in the scale from G to e":
`
`molle:
`
`--b~b-- ~
`G.A B c de f g /
`c' d' e' f; g; a/ c" d" e"
`'\_b
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`durum:
`
`naturale:
`
`In medieval theory the compass of tones was
`obtained not by joined octaves but by overlap(cid:173)
`ping hexachords. This method, although gener(cid:173)
`ally considered inferior to the n;wdeni practice,
`is actually superior in that it produces the scale
`without at the same time establishillg a prefer(cid:173)
`ence regarding· tonality. Indeed, in the modem
`
`383
`
`Verizon Wireless
`Exhibit 1031-0003
`
`

`

`HOFLIED
`
`HONDURAS
`
`hocket technique. See M. Schneider, in ZMW
`xi; H. Husmann, inAMWxi, 296.
`Hoflied [G.]. See under Gesellschaftslied.
`
`Hoftanz (G.] .. A 16th'-century German dance,
`possibly a German variety of the French basse
`danse. About 50 examples are found in lute and
`· keyboard tablatures of the 16th century, the
`earliest in the hite books of Judenkunig of 1515
`and 152~ [DTO 37]; A "Hoftanz mit durch(cid:173)
`straicl1en" (strumming all the strings of the lute,
`resulting in full chords) by Hans Newsidler is
`reprodUced in HAM, no. 1 05a. Like other dances
`of the 16th century [see Spagna; Passamezzo],
`the majority ofHoftiinze are based on traditional
`("Der schwarze Knab," "Bentze(cid:173)
`melodies
`nauer'']. See 0. Gombosi, in AM vii; D. Heartz,
`"Hoftanz and Basse dance" (JAMS xix).
`
`Ho-hoane. Corruption of Irish "ochone," i.e.,
`*lament. The Fitzwilliam Virginal Book con(cid:173)
`tains a piece labeled "The Irish Hohoane" [ ed.
`Barclay-Squire, i, 87].
`Hold. Same as *pause.
`
`Holz- [G.]., Wood. Holzblasinstrumente, wood(cid:173)
`winds .. Holzblaser, player of woodwinds. Holz(cid:173)
`harmonika, . Holzstabspiel, xylophone. Holz(cid:173)
`schlegel, wooden drumstick. Holztrompete, see
`Clarinet family II; also SaRM, p. 181.
`Homme a~e, L'. See L'Homme arme.
`
`Homo-, iso-. Prefixes that both mean "same"
`ot "equal to.'' in musical terminology, particu(cid:173)
`larly concerning rhythm; they are useful in dis(cid:173)
`tinguishing two different kinds of "identity" or
`"similarity," one vertical and the other hori(cid:173)
`zontal. Thus, *homorhythmic means the simul(cid:173)
`taneous use of the same rhythm in different parts
`of a contrapuntal texture, while *isorhythmic
`means the successive use of the same rhythm in
`··one . part. A similar distinction can be made
`between homoperiodic and isoperiodic. Homo(cid:173)
`periodicity is found in many clausulae and 13th(cid:173)
`century motets [see, e.g., Aubry, Cent motets,
`no. 60] and isoperiodicity in those of the 14th
`century. See Poly-, multi-.
`Homophony. Music in which one voice leads
`melodically, being supported by an accompani(cid:173)
`ment in chordal or a slightly more elaborate
`style. Practically all music of the 19th century
`is homophonic. Homoph9ny is the opposite
`of polyphony, music in which all parts contrib"
`ute more or less equally to the musical fabric.
`
`However, the term is also applied to a kind of
`polyphonic (or part) music in which all the
`voices move in the same rhythm, thus producing
`a succession of intervals (in two-part writing)
`or chords (in three- or four-part writing). Hence,
`homophonic is synonymous with "strict chordal
`style" or familiar style. A more suitable term for
`this style is *homorhytlunic.
`In French usage homophonie means (1) mono(cid:173)
`phonic music; (2) enharmonic equivalence.
`
`type of
`Homorhythmic. Designation for a
`polyphonic (or. part) music in which all the
`voices move in the same rhythm, thus producing
`a·succession of intervals (in two-part writing) or
`of chords (in three.- or four-part writing; see
`under Homo-, iso-). The best-known examples
`are the four-part harmonizations of hymn or
`chorale melodies. Such music is commonly
`described as being in *chordal style, *familiar
`style, *homophonic, *isometric, note-against-
`. note, or even harmonic. Since, however, homo(cid:173)
`rhythmic texture has been used since the begin(cid:173)
`ning of polyphony, terms implying the presence
`. ..
`of ch_Qrds or harmoJly are mislea<fing.
`The early organum, from its beginnings about
`850 toe. llOO,is strictly homorhythmic. So are
`most of the conductus of the 13th century,
`written in two to four parts; hence the term
`"conductus style" as yet another synonym for
`homorhythmic, used preferably with reference
`to 13th- and 14th-century music. In the 15th(cid:173)
`century *faux:bourdon and the 16th-century
`*falsobordone, homor4ythmic writing takes on
`the function of harmonization. In the Masses
`and motets of Obrecht, Josquin, and later
`16th-century composers the prevailing poly(cid:173)
`phonic (more properly, *polyrhythmic) texture
`is often balanced by sections in homorhythmic
`style. This style was also used for the more popu(cid:173)
`lar types of 16th-century music, such as the
`frottola, musique mesuree, villanella, etc. After
`1600 it persisted chiefly in harmonized hymns
`and chorales. As a rule, homorhythmic treat(cid:173)
`ment goes hand in hand with a strictly syllabic
`setting of the text.
`Lit.: H. Bush, "The Emergence of the Chordal
`Concept" (diss. Cornell Univ., 1939); K. Jeppe(cid:173)
`sen, "Das isometrische Moment in der Vokal(cid:173)
`polyphonic" (CP Wagner); U. Teuber, "Bemer(cid:173)
`kungen zur Homophonie im 16. Jh." (CP 1952).
`
`Honduras. Despite various efforts made at
`different times, musical life in Honduras has
`remained relatively undeveloped. Since the
`establishment of the first military band in 1876,
`
`390
`
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`
`Verizon Wireless
`Exhibit 1031-0004
`
`

`

`MONOPHONY
`
`MONTONERO
`
`music, being the only kind employed in ancient
`Greece, in the various branches of early church
`music (Gregorian chant, Byzantine chant), the
`music of the troubadours, trouveres, minne(cid:173)
`singers, and Meistersinger, the Spanish cantigas
`and Italian laude of the 13th century, and uni(cid:173)
`versally in non-Western and primitive music as
`well as in European folk music. Also see remark
`under Monody.
`
`Monothematic, polythematic. Terms describing
`compositions based on one theme (e.g., a fugue)
`or several themes (e.g., a sonata or a movement
`in sonata form). They are applied particularly to
`the imitative forms of the 16th and 17th centu(cid:173)
`ries, such as the fantasia, ricercar, etc. It was
`formerly maintained
`that the fantasia was
`monothematic and the ricercar polythematic
`[see M. Seiffert, Geschichte der Klauiermusik
`(1899), p. 33f]. Actually, both forms may have
`one or several themes.
`Monotone. The recitation of a liturgical text on
`an unchanged pitch, as in psalms, prayers,.
`lessons (reading from the Scriptures), etc. Usu(cid:173)
`ally, monotonic declamation is modified by in(cid:173)
`flections, i.e., a few ascending or descending
`tones at the beginning, middle, or end of the
`phrase of the text. See Psalm tones. The term
`"inflected monotone" has also been used for
`rather elaborate chants that have been inter(cid:173)
`preted as highly ornamented variants of a
`recitation.
`Montirande. A 16th- and 17th-century variety of
`the *branle, mentioned by Arbeau (* Orcheso(cid:173)
`graphie, 1589) as "branle de monstierandel," and
`by Mersenne (Harmonie uniuerselle, 1636) as
`"branle de montirande." A manuscript in Upp(cid:173)
`sala contains a number of Montirandes for in(cid:173)
`strumental ensemble, in 4/4 meter and with
`dotted rhythms. See J. J. S. Mracek, "Seven(cid:173)
`teenth-Century Instrumental Dances in Upp(cid:173)
`sala, Univ. Libr. I Mhs 409" (diss. Indiana Univ.,
`1965).
`
`square-shaped characters [see Square notation],
`was adopted for the notation of polyphonic
`music [see Notation III] as well as for writing
`down the monophonic repertory of secular
`songs. The melodies of the troubadours and
`trouveres and the Italian laude and Spanish can(cid:173)
`tigas all are written in this notation, essentially
`that employed in modern editions of Gregorian
`chant. Some of the earliest (12th-century)
`sources of troubadour and
`trouvere song,
`especially the Chansonnier de Saint-Germain
`des Pres, employ the somewhat different sym(cid:173)
`bols of Messine script, which was adopted in
`Germany (minnesingers, Meistersinger).
`The main deficiency of these notational sys(cid:173)
`tems is their failure to indicate note values. This
`gives rise to the question of rhythm, not only in
`Gregorian chant [see Gregorian chant VI] but
`also for the repertory of secular song, in which,
`however, it is distinctly different because of the
`presence of poetic texts. The use of nonmensural
`symbols for writing down presumably measured
`melodies has led to various theories, most of
`them based on a consideration of the poetic
`meter of the text. While Riemann advocated the
`principle of * Vierhebigkeit and duple meter,
`P. Aubry and others proposed an interpretation
`in triple meter based on the rhythmic modes of
`the 13th century [see Modal theory; also Poetic
`meter IV]. The validity of the modal theory has
`been challenged by A. Machabey and especially
`by H. Angles, who maintains that the Spanish
`cantigas, the Italian laude, and some troubadour
`and trouvere MSS are written in a mensural nota(cid:173)
`tion that is partly modal, partly nonmodal (bi(cid:173)
`nary meter). This important discovery may well
`lead to new results in the field of secular song.
`Lit.: WoHN i, 146-71; 172-97; RiHM i.2,
`245ff, 260ff; J. B. Beck, Die Melodien der Trou(cid:173)
`badours (1908; see WoHN i, 200n); id., Le Chan(cid:173)
`sonnier Cange (1927); P. Aubry, Trouueres and
`Troubadours (1914); A. Machabey, Notations
`musicales non modales (1957); H. Riemann, in
`JMP xii; J. Handschin, in AM x and Medium
`Aeuum iv (1935); H. J. Moser, in ZMWvii, 367ff;
`E. Jammers, in ZMWvii, 265ff; H. Angles, in CP
`1949, pp. 45ff, and CP 1958, pp. 56ff. See also
`under Modal theory.
`
`Monophony, monophonic. Music consisting of a
`single melodic line without additional parts or
`accompaniment, as opposed to *polyphony,
`*homophony, etc. [see Texture]. Monophonic
`music is the purest realization of the melodic
`element [see Melody]. It is the oldest type of
`
`~
`
`\ G v ~ I r· ~ f" Jl I r r- U I f p r· v I J
`
`•
`
`.
`
`I ~
`
`Montonero [Sp.). Counterpart of the French
`minuet that developed in the La Plata River
`region during the first half of the 19th century.
`It is also known as minue montonero or el
`Nacional (the national). While retaining the
`a b a structure of the European model, the mon(cid:173)
`tonero became a characteristic New World dance
`
`539
`
`Verizon Wireless
`Exhibit 1031-0005
`
`

`

`POLYCHORD
`
`amples of this technique are in the works ofRuf~
`fino Bartolucci, who was musical director at the
`Cathedral of Padua from 1510 to 1520. Willaert
`used it in his salmi spezzati (broken psalms)
`found in publications of 1550 and 1557. The
`common notion that G. Zarlino in his Istituzioni
`armoniche (1558) credited Willaert with the in(cid:173)
`vention of the coro spezzato is not correct. Zar(cid:173)
`lino merely says that Willaert formulated some
`rules for composing pieces employing coro
`spezzato. The polychoral style was also culti(cid:173)
`vated by Andrea Gabrieli (c. 1520-86), who
`wrote a Deus misereatur nostri for three four-part
`choruses, and was fully exploited by G. Gab(cid:173)
`rieli (c. 1557-1612; see Ex.). It is a characteristic
`feature of the *Venetian school. Its development
`was furthered by the alternate playing on the
`two organs of St. Mark's at Venice, which were
`installed in the two apses of the cathedral.
`Accordingly, different choruses were placed with
`the organs and elsewhere in the building. The
`polychoral style persisted throughout the ba(cid:173)
`roque period, particularly in Rome (Orazio
`Benevoli; see Roman school) and Germany
`(Handl, Hassler, Schiitz), the latest examples
`being found in Bach (first movement of the St.
`Matthew Passion).
`The term "polychoral" is also used, less
`appropriately, for compositions performed by
`two groups that merely alternate, without join(cid:173)
`ing forces. The earliest record of this method is
`an Italian MS from the second half of the 15th
`century (Modena, Bibl. Est. lat. 454/455). Such
`pieces should be called "antiphonal" rather than
`"polychoral." Nor is "polychoral" a wholly
`accurate term for the decani and cantoris choirs
`of the Anglican rites. These sing alternately as
`well as together, but in the latter case merely
`duplicate their parts, so that the result is an in(cid:173)
`crease of volume rather than voice-parts.
`Lit.: L. Reitter, Doppelchortechnik bei Hein(cid:173)
`rich Schiltz (1937); A. E. Ray, "The Double(cid:173)
`Choir Music of Juan de Padilla" (diss. Univ. of
`Southern California, 1953); E. Hertzmann, in
`ZMW xii; H. Zenck, in CP 1949 and MF ii
`(Willaert); G. d'Alessi, in JAMS v (Bartolucci);
`W. Boetticher, in AMW xii (Lasso); M. Bukof(cid:173)
`zer, in Studies in Medieval and Renaissance
`(1950), pp. 181-84 (cod. Modena);
`Music
`D. Launay, in RdM 1957, p. 173 (France, 17th
`cent.); D. Arnold, in ML xl, 4, and MF xii
`(A. Gabrieli).
`Polychord. See under Monochord.
`
`Polychronion. See under Acclamation.
`
`POLYRHYTHM
`
`Polymetric. Term used for modern editions of
`16th-century vocal music in which the bar lines
`are placed at irregular intervals according to the
`requirements of the musical and textual phrases,
`resulting in a succession of different meters. This
`practice might better be called "multimetric,"
`while "polymetric" would be reserved for the
`simultaneous use of different meters, e.g., 2/4
`against 3/4 or 6/8 [see under Polyrhythm]. See
`Poly-, multi-.
`Polyphony [F. polyphonie; G. Mehrstimmigkeit;
`It. polifonia; Sp. polifonfa]. Music that combines
`several simultaneous voice-parts of individual
`design, in contrast to *monophonic music, which
`consists of a single melody, or *homophonic
`music, which combines several voice-parts of
`similar, rhythmically identical design [see also
`Heterophony]. The prefix "poly-" [from Gr.
`polys, many] should not be taken literally, since
`as few as two parts can make perfect polyphony
`-better, indeed, than six or eight. Polyphony is
`largely synonymous with counterpoint, except
`for a difference of emphasis [see Counterpoint].
`There are numerous theories regarding the
`"origin of polyphony," but none is more than
`hypothetical. Some scholars regard the earliest
`extant examples of polyphony (c. 900) not as a
`beginning but as a "first culmination" of a
`development whose origin, they believe, lies in
`Oriental and primitive music [see ReMMA,
`pp. 249ff].
`Lit.: M. Schneider, Geschichte der Mehrstim(cid:173)
`migkeit, i, ii (1934-35); L. B. Spiess, "Polyphony
`in Theory and Practice from the Ninth Century
`to the Close of the Thirteenth Century" ( diss.
`Harvard Univ., 1942; rev. 1947); P. Wagner,
`"Uber die Anf"ange des mehrstimmigen Ge(cid:173)
`sanges" (ZMW ix); E. Steinhard, "Zur Friih(cid:173)
`geschichte der Mehrstimmigkeit" (AMW iii);
`F. Ludwig, "Die mehrstimmige Musik des 14.
`Jahrhunderts" (SIM iv); id, "Studien iiber die
`Geschichte der mehrstimrnigen Musik im Mittel(cid:173)
`alter" (SIM v); M. Schneider, "Kaukasische
`Parallelen zur mittelalterlichen Mehrstimmig(cid:173)
`keit" (AM xii); P. Collaer, "Polyphonies de tradi(cid:173)
`tion populaire en Europe mediterraneenne" (AM
`xxxii); for additional bibl. see ReMMA, p. 45lf.
`Polyrhythm. The simultaneous use of strikingly
`contrasted rhythms in different parts of the musi(cid:173)
`cal fabric. In a sense, all truly contrapuntal or
`polyphonic music is polyrhythmic, since rhyth(cid:173)
`mic variety in simultaneous parts more than any(cid:173)
`thing else gives the voice-parts the individuality
`that is essential to polyphonic style [see Texture].
`
`687
`
`Verizon Wireless
`Exhibit 1031-0006
`
`

`

`- - - - - - - - - - - - - - - - - - - - - - - - -
`
`' -----------~-----
`
`TEXTURE
`
`Texture. Much like woven fabric, music consists
`of horizontal ("woof") and vertical ("warp")
`elements. The former are the successive sounds
`forming melodies, the latter the simultaneous
`sounds. forming ,harmonies [see also Counter(cid:173)
`point I]. It is these elements that make up the
`texture.
`'J'he
`texture stands out particularly
`cle'arly in part music, i.e., music written in a
`given number of parts. Each part represents a
`horizontal line of individual design, connected
`with the other lines by the (vertical) relationship
`of consonance or harmony. Such music is said
`to.hav.e a contrapuntal or polyphonic texture. lp_
`ac~ompanied melody, on the other hand, the
`texture is primarily vertical, based on a succes(cid:173)
`sion of chords that are horizontally connected
`by a top melody. This texture is called chordal
`or homophonic. Ex. la and lb illustrate the two
`kinds of treatment of a single melody.
`
`1
`la@11 j
`
`j
`
`J J i j J j J I j J J li
`
`Between the two extremes of strictly poly(cid:173)
`phonic and strictly homophonic music lie a large
`variety of intermediate textures. Ex. 2 [Beetho-
`
`ven, Piano Sonata op. 106] illustrates a mixture
`of horizontal and vertical elements that is par(cid:173)
`ticularly common in 19th-century piano music
`(Beethoven, Brahms). As early as the 16th cen(cid:173)
`tury the strictly contrapuntal texture of the
`polyphonic era was often modified into a pseudo(cid:173)
`contrapuntal texture qescribed as *freistimmig.
`Distinctive of contrapuntal music is the rhyth-
`
`THAILAND
`
`mic relationship between the parts. There are
`two types of polyphonic texture, one in which
`the four parts move in identical rhythm (as in a
`church hymn), and another in which they are
`rhythmically wholly independent (as is fre(cid:173)
`quently the case in Palestrina or Bach). Only the
`latter texture, known as *polyrhythmic, is truly
`contrapuntal. The former, called *homorhyth(cid:173)
`mic, borders on chordal texture, and indeed is
`often called strict chordal style (as opposed to
`free chordal style, where the number of notes in
`a chord is not fixed and there is usually no hori(cid:173)
`zontal movement except in the top melody.
`One may also distinguish between: light and
`heavy texture. Light texture results from the use
`of few instruments, or instruments of light color
`(e.g., flute), or both. G. Gabrieli's *polychoral
`compositions and Sibelius' symphonies exem(cid:173)
`plify heavy texture; DUfay's chansons and St:ra(cid:173)
`vinsky's L'Histoire du soldat are light. Many
`20th-century composers prefer light texture (e.g.,
`Stravinsky, Hindemith). See G. Dyson, "The
`Texture of Modem Music" (ML iv, 107ff, 203ff,
`293ff).
`
`Thailand. During the past six hundred ·years,
`Thai music has absorbed instruments and music
`cal ideas from neighboring cultures into its in(cid:173)
`digenous musical culture. The strongest influ(cid:173)
`ences came from China, where the Thai resided
`before migrating in the 13th century into present(cid:173)
`day Thailand, and from the Khmer at Angkor in
`Cambodia, through whom also came indirect
`influences from India and Indonesia. Because
`of the rich interchange among Laos, Cambodia,
`and Thailand, the traditional music and instru(cid:173)
`ments of these countries are essentially similar
`today.
`Three main ensembles are used in Thai tra(cid:173)
`ditional music: (1) the pi phat, consisting of xylo(cid:173)
`phones, metallophones, sets of gong-kettles,
`hand cymbals, gong, drum, and the pi, a double(cid:173)
`reed wind instrument; (2) the khruang sai, com(cid:173)
`posed of various stringed instruments, rhythmic
`percussion, and a bamboo flute; (3) the mahori,
`consisting of melodic and rhythmic percussion,
`stringed instruments, and the flute.
`In the Thai musical system, the octave is
`divided into seven relatively equidistant inter(cid:173)
`vals. The instrumental music consists of a main
`melody combined simultaneously with varia(cid:173)
`tions of itself, a practice that may be. termed
`"polyphonic stratification," each layer usually
`being performed by only one instrument and
`
`842
`
`Verizon Wireless
`Exhibit 1031-0007
`
`