Monophonic music in the context of "Homophony"

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⭐ Core Definition: Monophonic music

In music, monophony is the simplest of musical textures, consisting of a melody (or "tune"), typically sung by a single singer or played by a single instrument player (e.g., a flute player) without accompanying harmony or chords. Many folk songs and traditional songs are monophonic. A melody is also considered to be monophonic if a group of singers (e.g., a choir) sings the same melody together at the unison (exactly the same pitch) or with the same melody notes duplicated at the octave (such as when men and women sing together). If an entire melody is played by two or more instruments or sung by a choir with a fixed interval, such as a perfect fifth, it is also said to be monophony (or "monophonic"). The musical texture of a song or musical piece is determined by assessing whether varying components are used, such as an accompaniment part or polyphonic melody lines (two or more independent lines).

In the Early Middle Ages, the earliest Christian songs, called plainchant (a well-known example is Gregorian chant), were monophonic. Even into the twenty-first century, songwriters still often write songs that intersperse sections using monophony, heterophony (two singers or instrumentalists doing varied versions of the same melody together), polyphony (two or more singers or instrumentalists playing independent melodic lines at the same time), homophony (a melody accompanied by chords), or monody (a single melodic line with instrumental accompaniment) elements throughout the melody to create different atmospheres and styles. Monophony may not have underlying rhythmic textures, and must consist of only a single melodic line.

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Monophonic music in the context of Cello Suites (Bach)

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass).

As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God".

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