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n. pl. po·lyph·o·nies
Music with two or more independent melodic parts sounded together.

po·lyph′o·nous adj.
po·lyph′o·nous·ly adv.


n, pl -nies
1. (Music, other) polyphonic style of composition or a piece of music utilizing it
2. (Phonetics & Phonology) the use of polyphones in a writing system
[C19: from Greek poluphōnia diversity of tones, from poly- + phōnē speech, sound]
poˈlyphonous adj
poˈlyphonously adv


(pəˈlɪf ə ni)

1. a musical technique or style in which two or more melodic lines are in equitable juxtaposition.
2. representation of different sounds by the same letter or symbol.
[1820–30; < Greek polyphōnía variety of tones. See poly-, -phony]
po•lyph′o•nous, adj.
po•lyph′o•nous•ly, adv.

polyphony, polyphonism

the combination of a number of separate but harmonizing melodies, as in a fugue. Cf. homophony. — polyphonic, polyphonous, adj.
See also: Music


Music with independent melodies interwoven.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.polyphony - music arranged in parts for several voices or instruments
music - an artistic form of auditory communication incorporating instrumental or vocal tones in a structured and continuous manner
counterpoint - a musical form involving the simultaneous sound of two or more melodies
monody, monophonic music, monophony - music consisting of a single vocal part (usually with accompaniment)


[pəˈlɪfənɪ] Npolifonía f


n (Mus) → Polyfonie f


[pəˈlɪfənɪ] n (Mus) → polifonia
References in periodicals archive ?
And it is highly likely that these polyphonists had passed through this practice of serving as "assistants".
That means that the work of those scholars may be no less speculative than that of the polyphonists, but speculates along different lines, with the effect that it is not evidence against polyphony so much as a set of differing explanations belonging to separate interpretive traditions.
The Santiago Codex of Valladolid is also cited in Pedro Calahorra's study of music in the city of Zaragoza, (10) which includes documents and information relating to polyphonists and minstrels of this period in order to reconstruct their biographies and musical activity, in relation to a description of the four-part motet Hoc Corpus.
There was the substantive due process doctrine of Lochner notoriety, which restricted state legislation and regulation in many of the domains where polyphonists would dearly love to see it exercised.
Narratives of Spanish music of the Renaissance usually start with the court of Isabella and Ferdinand at the end of the fifteenth century--mentioning villancicos by Encina and sacred works by Anchieta--but move quickly into the sixteenth century with Penalosa, to concentrate the discussion on later contributions by vihuelists, such as Milan or Narvaez, and the three great polyphonists Morales, Guerrero, and Victoria.