Short answers, pulled from the story.
Texture in music is how tempo and melodic and harmonic materials combine in a composition, determining the overall quality of the sound. It is described in terms of density or thickness and the range between the lowest and highest pitches, as well as the number of voices and their relationships to one another.
The main types are monophonic (a single melodic line with no accompaniment), biphonic (a drone plus an elaborating melody), polyphonic or contrapuntal (multiple independent melodic voices), homophonic (one melody with harmonic accompaniment), homorhythmic or chordal (multiple voices in the same rhythm), and heterophonic (two or more voices performing simultaneous variations of the same melody). Silence is also classified as a textural category.
Homophonic texture features one melody standing out prominently while other voices provide harmonic accompaniment. It became the characteristic texture of the Classical period and continued to dominate in Romantic music. Popular music is described as nearly all homophonic.
The Scherzo from Schubert's piano sonata in B major, D575, moves through monophony in bars 1-4, homophony in bars 5-10, three-part polyphony in bars 11-20, a bar of silence, four-part polyphony in bars 21-24, and returns to homophony in the final four bars. This sequence illustrates how texture can shift rapidly within a single short movement.
Micropolyphony is a textural type first used by Gyorgy Ligeti. It is a more recent addition to the recognized categories of musical texture, distinct from standard polyphony.
A simultaneity is more than one complete musical texture occurring at the same time rather than in succession. It differs from a sequence of textures because multiple textural types are layered on top of each other simultaneously.