Through the period of social/political changes that continued for last decades of Ottoman Empire which eventually lead to the establishment of Turkish Republic in 1923, the Poliphonic Music and its genres were quickly beacame the signs of artistic expression marking the change from Feodal Community to Burgoise Society replacing the old values with the new ones. Jannisery Mehter was nearly 100 percent replaced by the Western Band by mid 19'th Century a tendency called westernization process which was higlighted by the decleration of Tanzimat(regulations) in 1839 accomponied by some radical changes in social/political life in Ottoman Empire. A section of the sheet music can be seen below, which shows the score from 3:20 to about 3:30.Urkish Poliphonic Music has a history of at least 150 years from now. This moment of polyphony joins together the different big songs and gives them new meaning, which helps create a very powerful ending for the act. At about 2:55, the voices of Fiona and Donkey join Shrek, which builds up to polyphony at about 3:10, where Shrek continues with his beautiful melody, now joined by Fiona, singing parts of her melody from “I Know It’s Today”, and Donkey who reprises “Don’t Let Me Go”. For example, in Shrek the Musical, Jeanine Tesori writes a beautiful and powerful ending to act one with the song “Who I’d Be”. ![]() One of the most important and powerful uses of polyphony in musical theatre is during the finale of an act, when multiple main melodies from the show come together and overlap. Musical theatre uses polyphony for a variety of reasons. There are many short episodes throughout the piece (one example being at around 1:10), but the feeling of polyphony is created even through the usage of a countermelody overtop of the subject, which is seen in the piece at almost any given point when there are two overlapping parts (even when the alto voice has the subject and the soprano is doing a countermelody at 0:20). ![]() For the sake of simplifying things, we’ll use Bach’s Fugue in G minor again for this example. In a fugue, this is called an episode, and is used to transition to a new section and modulate keys. While not referred to as the “subject” in musical theatre pieces, it is clear that the imitative polyphony in one is comparable to imitative polyphony in a fugue.Īnother type of polyphony is non-imitative, which features distinct melodic lines overlapping. In a fugue, this idea that is passed around is called a subject. The first part of the sheet music can be seen below. Likewise, in the bottom right clip, the idea of imitative polyphony is heard very strongly in Johann Sebastian Bach’s Fugue in G minor (sheet music below). Although this piece is obviously based on a fugue, as shown by the name, it is a good example of how imitative polyphony can be used in a musical theatre piece. The subject is stated in one voice, and then gets passed along to two different voice parts. For example, in Frank Losser's Guys and Dolls, imitative polyphony has a heavy presence in the song "Fugue for Tinhorns". Imitative polyphony (a main idea that is passed through different voices) can be used to emphasize text while also filling space. In musical theatre, polyphony can be used in many different ways.
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