The music of V�ras suggests he was influenced by Italian styles : the melodic contours and harmonic language of his works show a substantial stylistic affinity with the sonatas of Domenico Scarlatti.
22.
In the following example the melodic contour of the first measure ( first clave cycle ) of quinto is tone-slap-tone, while the contour of the second measure is the reverse : slap-tone-slap.
23.
This second theme uses the same melodic contour ( 5-8-7-6-6-5-( 5-4-4-3 ) ) of the remarkable C major modulation in the final A section of the second movement, implying further connotations of conflict resolution.
24.
Another critic has said Bullard s music shows a genuine love for melodic contours and a delicate shading of a harmonic language that is respectful of tradition without being a slave to it.
25.
Because he was a composer, he took an interest in technical aspects of the music, such as scales, melody, rhythm, harmony, and form, the relationship between speech tones and melodic contours, and prosody and musical instruments.
26.
All the chords in " Dead Man " are essentially familiar, as are the melodic contours and the formal outlines of aria, ensemble and recitative; what's thrilling is the communicative splendor that Heggie brings to them.
27.
"Melody type " as used by the ethmnomusicologist Mark is defined as a " group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns ".
28.
The recitative, whose tempo changes frequently, leads to an extended " arioso dolente ", a lament whose initial melodic contour is similar to the opening of the scherzo ( although } } dismisses this as insignificant ).
29.
This third theme is highly similar in rhythm and melodic contour as well as left hand pattern to the tarantella of the C minor sonata, which may not be a coincidence when considering the overall high level of cyclic connection between the sonatas.
30.
His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his eagerness to redefine imitative contrapuntal techniques such as serial or avant-garde composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, and Gy�rgy Ligeti.
