Homophony
Entry for EPMOW by Philip Tagg
homophony (adj. homophonic), from Greek homófonos [omofwnoV] (= sounding in unison or at the same time): type of polyphony in which the various instruments and/or voices move in the same rhythm at the same time, i.e. the polyphonic antithesis of counterpoint. In historical musicology, homophony is sometimes opposed to polyphony, the latter in the restricted sense of imitative contrapuntal polyphony, and can also therefore denote music in which one voice or instrumental part leads melodically while others provide chordal accompaniment. However, since chordal accompaniment in many influential types of popular music is characterised by riffs (bass, lead guitar, backing vocals, etc.) and thereby to a significant extent contrapuntal, it is misleading to call such music homophonic.
Music can be considered homophonic (or contrapuntal) only in relative terms. For example, although example 1, taken from one of the most popular hymn tunes in nonconformist Christianity, fulfils all the criteria of homophony, it is less homophonic than example 2 because: (i) each voice has a clearly melodic character, sometimes proceding in contrary motion to the tune (soprano); (ii) the excerpt ends with a small contrapuntal intervention in the alto and bass parts.
Ex.1 Cwm Rhondda (refrain) (John Hughes, 1873-1932)
Ex.2 Old 100th (French Psalter, 1551)
Example 3 illustrates both homophonic and contrapuntal characteristics: while lead singer and backing vocalists sing homophonically, their combined melodic gesture is counterpointed by bass line and flauto dolce ostinato doubled by strings.
Ex.3 Abba: Fernando (1976).
Bibliography
Tagg, Philip. 1991. Fernando the Flute. Liverpool: Institute of Popular Music
Musical references
Abba. 1976. Fernando. Epic 4036.
The Methodist Hymn Book. 1933. London: Methodist Conference Office. (Old 100th no.2; Cwm Rhondda no. 615).
[283 words incl references but not music exx: = effectively at least 500 words]
