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(ˌhɛmɪˈəʊlə) or


(Music, other) music a rhythmic device involving the superimposition of, for example, two notes in the time of three. Also called: sesquialtera
[New Latin, from Greek hēmiolia ratio of one to one and a half, from hemi- + (h)olos whole]
hemiolic adj


(ˌhɛm iˈoʊ lə)

n., pl. -las.
a musical rhythmic pattern of syncopated beats with two beats in the time of three or three beats in the time of two.
[1590–1600; < Medieval Latin hēmiolia < Greek hēmiolía the ratio of one and a half to one, feminine of hēmiolíos half as large again]
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References in periodicals archive ?
El termino hemiolia o hemiola en italiano, tal como describe Jean-Jacques Rousseau en su Dicionario de musica (Rousseau, 2007: 235), proviene del griego y significa entero y medio, expresa una relacion 3 a 2 entre dos cantidades y se denomina tambien proporcion sesquialtera.
Boundaries between the types are often blurred, as in Ravel's subtle use of hemiola in the middle movement of the Concerto.
Sub-elements and common terms and instructional terminology may include: beat, pulse, meter (simple and compound), time, tempo/tempi, duration, mixed or asymmetric meter, downbeat, backbeat, two-beat, three-beat, four-beat, eight-beat, sixteen-beat, ostinato, duple/triplet/quadruple, syncopation, hemiola, augmentation, polyrhythm, improvised, rhythmic sequence, rhythmic themes, rhythmic cadence, style, swing, groove, non-sequential, irregular rhythm, pitched/nonpitched rhythm, subdivision, fermata/fermati, precision, silence.
Otro aspecto del latinoamericanismo en musica es la identidad compartida por muchos compositores de la region, que tiene sus raices en la historia y la situacion neocolonial comunes, la lengua compartida y, tambien, en aspectos musicales que se encuentran con mayores o menores variaciones en toda Latinoamerica: uso de instrumentos como la guitarra y sus variantes, elementos ritmicos como la hemiola, danzas, formas de cantar o de improvisar, etcetera.
The tunes are in triple meter, or 6/8 duple meter with hemiola that alternates between duple and triple meter.
He repeats the text, "You get what you deserve, it's what you're worth," three times, the final repeat utilizing the oil drum to accent a hemiola rhythm that further disrupts metrical stability.
A hemiola can be represented by the first line of the song from West Side Story, 'I want to live in America' (C).
The entire final chapter, which summarizes Ives' use of avant-garde techniques such as cluster glissandos, nonsynchronized accelerando, and polythematic hemiola, is sufficiently technical as to leave even a few music scholars in left field.
If we are vigilant towards the grouping in twos suggested by the hemiola, we can begin to hear many more interesting harmonic movements.