The selected instrument (section or family) is playing.

The selected instrument (section or family) is playing in solo.

All instruments of the ensemble are playing (complete or partial Tutti).

One or more instruments constituting a coherent whole.

One or more instruments constituting a coherent and most prominent whole (main melody, motive, pattern).

One or more instruments constituting a coherent but secondary whole (counterpoint, secondary/counter/accompanying melody, motive, pattern, figuration, texture).

One or more instruments constituting a coherent but least prominent whole (accompaniment, counterpoint, secondary motive, pattern, figuration, harmony, texture, bass line).

Single voice texture (unisono, "grand unison").

All Voices (Layers) are in exact rhythmic synchronisation. A main melodic Voice might or might not emerge from the texture (as opposed to Homophonic-Homorhythmic).

Principal Voice with other concurrent voice-s (in individual Layers or not) recognizably similar but often with (slightly) different onsets and offsets (quasi-homorhythmy).

Instruments (and Modes of playing) as small elements of a global Layer granularity. See also > Timbral Manipulation.

Standard "Accompanied Melody" :
A primary melodic Voice (or a whole Layer) is supported by one or more additional Layers providing accompanying harmony and often rhythmic contrast.

Standard "Accompanied Melody" :
A primary melodic Voice (or a whole Layer) is supported by one or more additional Layers providing accompanying harmony and often rhythmic contrast.
• Homorhythmic if all Voices or Layers share the same rhythm.

Contrasting, independent and co-equal Voices (or Layers) are superimposed.

Superposition of two or more contrasting rhythms or rhythmic patterns (in individual Layers or not) perceived as autonomous (not readily perceived as deriving from one another).
• Polyrhythmic = different subdivisions of the beat.

Superposition of two or more contrasting rhythms or rhythmic patterns (in individual Layers or not) perceived as autonomous (not readily perceived as deriving from one another).
• Polymetric =  different beat groupings as superposed meters.

Distribution of instrumental colors (instruments, families, playing techniques, etc.) among the notes of a chord in such a way that the register occupied by each group of notes (sharing the same color) is mutually exclusive. 

Distribution of instrumental colors (instruments, families, playing techniques, etc.) among the notes of a chord in such a way that the register occupied by each group of notes (sharing the same color) is overlapping by at least one note, without any pitch duplication. 

Distribution of instrumental colors (instruments, families, playing techniques, etc.) among the notes of a chord in such a way that the register occupied by one group of notes (sharing the same color) is fully enclaved between two notes of another group. 

Distribution of instrumental colors (instruments, families, playing techniques, etc.) among the notes of a chord in such a way that the register occupied by each group of notes (sharing the same color) overlapping by one, duplicated pitch. 

Several instruments play the same pitch-class in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that both their individual timbral identities are fused into a new, composite one.

Several instruments play the same pitch-class in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that both their individual timbral identities are kept intact.

Several instruments play the same pitch-class in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that a primary timbral identity is altered by another one.

Several instruments play different pitch-classes in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that both their individual timbral identities are fused into a new, composite one.

Several instruments play different pitch-classes  in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that both their individual timbral identities are kept intact.

Several instruments play the same pitch-class in synchrony for more than two consecutive pitches or for a substantial part of a held note, so that a primary timbral identity is altered by another one.

One or more instruments ("Fusing") contribute(s) to the timbral fusion between two or more instruments ("Being Fused”).

Alteration of the perceived timbral qualities of an instrument or group of instruments.

CAUSAL CONTIGUITY (Signified: supposed cause | Signifier: perceived Object).
Ex.: “Quivering voice” = nervousness?   |  Imitations of sighs, cries, breathing, heartbeat, etc.
Acousmatic music:  “Source bonding” (Smalley)

Topic: Richly coded STYLE TYPE

DEFINITON by OTHER SIGNS (Signified: symbolic Object | Signifier: perceived Object).
Series of grammatical lists (sound objects) and syntaxical rules (combination rules) that support the establishment of a musical language and eventually a musical style. (see > Tarasti’s Isotopies)   |  (see > Ratner’s Topics)