from The American Heritage® Dictionary of the English Language, 4th Edition
- n. The quality or condition of being homophonic.
- n. Homophonic music.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. a texture in which two or more parts move together in harmony, the relationship between them creating chords.
- n. The quality of being homophonous.
from the GNU version of the Collaborative International Dictionary of English
- n. Sameness of sound.
- n. Sameness of sound; unison.
- n. Plain harmony, as opposed to polyphony. See Homophonous.
from The Century Dictionary and Cyclopedia
- n. Sameness of sound.
- n. In music: In ancient music, unison, or music in unison: opposed to antiphony.
- n. In modern music, monody; monophony: opposed to polyphony.
- n. Also homophone.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. part music with one dominant voice (in a homophonic style)
- n. the same pronunciation for words of different origins
He based this on the homophony and homography of the first singular, and 'homophony' of the 2nd singular pronoun.
However, despite their surface homophony, the underlying phonemic structure of “set” and “said” are sufficiently different as to render them very unlikely candidates for human confusion.
Akkadian also inherited homophony from Sumerian, the capacity of different signs to represent the same sound.
The word Cicero uses, lectulus, meant not just a bed for sleeping, but one for conversation and study — perhaps because of its partial homophony with legere, lectus, "gather by picking" (like flowers) and "read."
The majority of Pedro de Cristo's surviving works are, however, written for four or five voices and in a predominantly imitative style although homophony is the basic texture in the settings of responsories and psalms, and short homorhythmic passages are common in other works.
These consorts show a rich vein of imagination, contrasting polyphony with homophony, and simple diatonic with chromatic passages, so that the contrapuntal devices act as a backdrop to the expression of intimate, fluctuating emotions.
In most well-written homophony, the parts that are not melody may still have a lot of melodic interest.
Strict homophony prevails in the motets for the Elevation of the Host.
The use of a cantus firmus was not essential, while big intervals in the melodic lines, chromaticism and homophony in crucial places were all allowed to help the understanding of the words.
From Il quarto libro onwards these characteristics undergo a process of refinement, and are now combined with an increased use of pure homophony and an interest in textural contrast.
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