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Music 2
| Term | Definition |
|---|---|
| Organization of Musical Sounds | Octave, Half Steps, Chromatic Style, Pentatonic and Tritons scales, Microtones and inflections, active chords, (sub)dominant, modulation, transposition |
| Half Steps | Divide the octave by semitones |
| Chromatic Scale | Twelve half steps, sharps (#) raises a tone, flats (b) lowers a tone |
| Pentatonic and Tritonic Scales | 5 notes per scale 3 notes per scale |
| Microtones and inflections | Quarter tones, note may be highlighted |
| Active chords | Wants to resolve |
| Dominant | Main active chord, fifth scale degree |
| Subdominant | Fourth scale degree, Amen cadence, below the dominant |
| Modulation | Creates Tension |
| Transposition | Take a melody and shift the entire melody/notes, up and down, depending on intervals you want, same melody but different key/character |
| Musical Texture | Interweaving of melody and harmony, monophony, heterophony, polyphony, homophony |
| Monophony | Just singer, one melodic line happening only. |
| Heterophony | One musical line, you elaborate the original musical line |
| Polyphony | Two or more melodic lines that are independent |
| Homophony | The voices moving at the same rate, homorhythym, melodic line with a simple accompany |
| Contrapuntal Device | Imitation, Canon |
| Imitation | Another voice/line imitating each other |
| Musical Form | The work’s structure or shape Ex. Repetition and contrast, strophic form, theme and variations, improvisation |
| Repetition and Contrast | Call and response, Ostinato |
| Strophic form | Vocal music, popular music |
| Theme and variations | Theme and the theme has leading variations |
| Call and Response | Leader calls and audience responds |
| Ostinato | Repeating baseline, remains consistent throughout |
| Improvisation | Improvise, on the spot playing, like jazz or rock band |
| Musical Forms | Binary |
| Building blocks of form | Theme, Sequence, Motive/motif, Movement |
| Binary form | Two parts: AB |
| Terinary form | Three parts, returns to first section |
| Theme | Melodic Idea, Thematic development, |
| Sequency | The path of the music |
| Motive/Motif | Rhythm, smallest fragment of a theme, ex. harmonic motif, rhythm motif, melodic motif, dramatic motif |
| Movement | Pertains to classical music, like symphony’s, stand alone as an independent work, more like a whole |
| Melodic Idea/Thematic development | Melody theme, warp melody in variation |
| AB side | A is a statement, B is how to differ from A section |
| Musical Expression | Tempo |
| Tempo | Rate of speed, emotional implications, markings set the pace and mood |
| Rate of speed of the music | How fast or slow the music is, carries emotional implication |
| Emotional implication | Determines physical and psychological response, slower is calm and relaxed, fast is agitation or excitement in the music |
| Markings set the pace and mood | Usually written in Italian, Italian dominance of music in 1600 Europe, set standard for tempo markings |
| Tempo and dynamics together as expression | Tempo and Dynamic shapes expressitivy, used as guidelines, Tempo in relation to your heartbeat, dynamics in how we say something |
| Tempo and dynamic shapes expressivity | More precise knowledge markings during 18th to 19th century, Few liberties for the performers in 20th century |
| Used as guidelines | Performers have final decision in markings, allows for different interpretations that best fits the music |
| Tempo in relation to your heartbeat | Relate to heartbeat like fast is agitated, slow is relaxed and calm |
| Dynamics in how we say something | How we say something ,how the message is delivered |
| Allegro | Fast, bright |
| Andante | Slow |
| Adagio | Walking pace |
Created by:
user-1981622