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Why does Schoenberg think of "'semi-contrapuntal treatment' of the accompaniment" as a way of adapting a motive's melody to changes in its harmony?
Schoenberg says that the melody of a motive may be adapted to changes in the harmony "[b]y transposition," "[b]y addition of passing harmonies," or "[b]y 'semi-contrapuntal' ...
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Kinetic Rhythm in Pop Music
This is something I've noticed that I don't hear anyone really talking about...
Essentially it's the way that separate rhythmic elements of most pop songs interact in a kinetic way with one another. ...
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