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Music chapter 1
| Term | Definition |
|---|---|
| Ethnomusicology | is the study of music in its social and cultural contexts. |
| Ethnomusicologists researchers | study music throughout the world and investigate its connections to diverse elements of social life and culture. |
| global perspective | encompassing all geographic areas and types of music |
| music as social practice | viewing music as a human activity that is interrelated with its social and cultural contexts |
| ethnographic fieldwork | observing and participating in music-making and related activities |
| Ethnomusicologists educators | teach courses in music from all over the world, popular music, and the cultural study of music. |
| musical soundscape | is a specific, intentional musical performance, but soundscapes look beyond just the music itself to involve senses beyond just your hearing. |
| Three aspects that contribute to a musical soundscape | sound, setting, and significance. |
| Sound types | non-musical sound and musical |
| Music | the intentional organization of sounds in time by and for human beings. |
| Intentionality | As humans, we also tend to be interested in music that has a plan - in other words, music that has an intentional organization. |
| Human Creativity | Another important aspect of a musical soundscape is a focus on human creativity. |
| Setting | the venue or other space where the performance is happening (the stage, seating, indoor or outdoor, etc.) the behavior of other people who are present, the surrounding environment, the accompanying visuals of the performer(s) during the performance. |
| Significance types | Natural/Personal |
| Personal Signigicance | If the musical soundscape has a profound effect on the listener/observer (you!) |
| Natural Significance | Music that is part of an important life event such as the birth of a child, a wedding or funeral, or an official ceremony |
| Pitch | the relative highness or lowness of a sound |
| Rhythm | the relative duration of a sound |
| Dynamics | the relative loudness or softness of a sound |
| Timbre | the tone color or quality of a sound |
| Pitch types | definite/indefinite |
| allows us to differentiate between the relative “highness” or “lowness” of one sound as compared to another sound. | Pitch |
| definite pitch. | If the sound waves oscillate at a consistent, regular frequency, the sound produces a clear, distinctive, measurable frequency |
| Definite sound instruments | pianos, guitars, flutes, violins, saxophones, and the human voice |
| melodies | Definite pitches that are sung or played one after another in sequence |
| Indefinite pitch | is a sound created through the production of irregular sound waves. |
| Indefinite sound instruments | drums and cymbals |
| The difference between definite pitch instruments and indefinite pitch instruments | indefinite pitch instruments do not play melodies. Indefinite pitched instruments play rhythms. |
| To help identify definite pitches, musicians use | letter names for notes that correspond to the frequency of the pitch. |
| frequency | measurable speed of oscillation of a sound(measured in hertz number) |
| interval | The distance between one musical tone and another(close together/far apart) |
| Some intervals sound like the notes are | Clashing together |
| octaves | Definite pitches that share a letter name |
| consonant interval | intervals sound stable, harmonious, and pleasant, like this interval which consists of the definite pitch C and the definite pitch E. |
| dissonant interval. | When a musical interval sounds jarring, clashing, or unstable |
| The relative length of time one pitch is held in relation to that of the pitches immediately before and after it relates | rhythm |
| beat | the basic unit of time in music.(most fundamental aspect of rhythm) |
| tempo | The speed at which the beat is played |
| beats per minute (BPM) | Modern composers will often write the tempo markings in(Be more precise) |
| The tempo is one of the major factors in establishing | the character of a piece. |
| relative loudness or softness of the sound. | dynamic level |
| is the musical element that allows us to recognize that a violin sounds different from a trumpet, even when they play the same pitch in the same rhythm at the same dynamic level. | Timbre(Tone Color) |
| Timbre also can be used to describe variations in the sound of the same types of | instruments/voices |
| There are five sound production categories, all of which share the root word “phone,” which comes from the Greek word | “phonos,” meaning voice or sound. |
| chordophone | produces sound by vibrations of a string when plucked, struck, or bowed. |
| aerophone | produces sound by causing air to vibrate when air is moved through the instrument. |
| Membranophones | are characterized by a vibrating skin (membrane) which is stretched over a frame. |
| idiophone | creates sound when a solid unit of an instrument or the entire instrument vibrates. |
| Electrophones | emerged during the 20th century to accommodate instruments whose ability to produce sound depends on electricity. |
| tambourine | considered both a membranophone and an idiophone. |
| Musical Texture | term for the number and function of musical layers. |
| Most music that we hear on a regular basis has two main types of sound layers | melody and harmony. |
| The number and interaction of these layers within a musical piece creates the | musical texture. |
| There are four common types of musical texture | monophony, homophony, polyphony, and heterophony |
| When we hear one musical layer only, the melody, this is known as | monophony. |
| When we hear the melody plus the harmony (as in the video above) this is known as | homophony. |
| homophony. | When we hear the melody and another sequence of pitches that move along with, but above or below the melody, this is also known as |
| When we hear two or more different and separate melodies happening at the same time, this is known as | polyphony. |
| When we hear a single melody being performed by more than one individual, but the performers are not exactly together, this is known as | heterophony. |
| Beats, the steady and regular pulses in music, can be grouped into patterns of | accented (louder) and unaccented (softer) beats |
| This beat grouping(accented/unaccented)= | meter. |
| Quadruple meter has 4 beats in each group. | This is the most common type of meter. |
| Triple meter has 3 beats in each group. | This is also a very common type of meter. |
| Remember that the rhythm of a song is different from the beat. | The beat is the steady pulse, while the rhythm is how long or short individual pitches are held in relation to that pulse. |
| Throughout the world, quadruple meter and triple meter are by far the most | common meter types. |
| Beats can be grouped in any number to create different meters, such as | quintuple meter and septuple meter |
Created by:
MathMatt
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