Music Appreciation Terms
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| Rhythm | the "surface" activity of music, based upon duration of musical sounds
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| Beat | they underlying pulse of music
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| Tempo | refers to the rate of speed of beats
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| Metronome | a mechanical device used to give precise speeds of beats (Metzel) 1800's (Beethoven was the 1st one to use it.)
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| Meter | ThHe organization of beats into groups or patterns
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| Duple Meter | l>ul>u (polka)
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| Triple Meter | l>uul>uul (waltz's)
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| Quadruple Meter | l>u>ul>u>ul
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| Measure | the length of a pattern(meter ) of beats
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| Bar Lines | the vertical lines that show where beat patterns begin and end
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| Non Metric | refers to the music that has no strong sense of beat or meter
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| Syncopation | the stressing of normally unstressed beats
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| melody | the succession of single pitches set to rhythm
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| Interval | the distance between two piitches
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| Melodic Structure | melodies often mirror linguistic structure, where phrases combine to create sentences
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| Phrase | a more or less incomplete melodic idea that ends with a cadence
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| Cadence | a resting point in music that occursat the ends of phrases (long notes...)
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| Incomplete Cadence | a resting point where the music feels like it must continue on-- similar to a comma
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| Complete Cadence | a resting point that gives the listener a feeling of completeion-- similar to a period
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| Musical Sentence | a complete musical thought(made up of two or more phrases) that ends with a complete cadence
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| Sequence | refers to repeating a melodic fragment at different pitch levels (the melodic pattern begins on successively lower or higher notes.)
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| Harmony | the sounding together of two or more notes
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| Chord | three or more notes sounded together; the basic building block of harmony(triad)
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| Broken Chord | refers to playing the notes of a chord seperately
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| Progression | the movement from one chord to another chord
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| Scale | a series of pitches arranged in order (Scala=ladder)
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| Tonic | the first and most important note of a scale, often referred to as the key or keynote
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| Mode | generally refers to "major" and "minor" scales
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| Major Scale | generally thought of as "happy"
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| Minor Scale | generally thought of as "Sad"
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| Modulation | the movement from one key to another key
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| Consonance | refers to combinations of pitches that sound pleasing
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| Dissonance | refers to combinations of pitches that sounds harsh or unpleasant
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| Musical Texture | refers to how musical layers are heard at onceand how they relate to eachother
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| Monophonic Texture | created by a single unaccompained melodic line (most ancient)
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| Polyphonic Texture | created by the layering of melodies 1. two or more different melodies sounding together 2. the same melody accompanies itself, as in a "round" or "canon"
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| Imitation | a type of polyphonic texture where a melodic idea is presented in one part and is then restated in other parts
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| Counterpoint | another word commonly used to refer to polyphonic texture
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| Homophonic Texture | created by primary melody accompianed by secondary harmony
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| Contrapuntal Devices | ways in which composers explored all possibilities of a melodic idea
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| inversion | a melody upside down
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| retrograde | a melody backwards
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| retrograde-inversion | backwards and upside down
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| augmentation | making note values longer
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| dimunution | making note values shorter
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| Musical Form | refers to the arrangement of musical ideas, based upon the concepts of repitition, contrats and variation
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| repitition | the restatement of a musical idea or section; provides sense of unity
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| Contrast | change in the music; provides sense of variety
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| Variation | a modified or changed version of something that was heard before; combines both repitition and contrats
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| Binary Form | (two part form) A-B
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| Ternary form | (3-part form) A-B-A
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| Theme | a melodic idea that serves as a building block of a composition
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| Motive | the smallest building block of music; takes on significance through repitition
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| Movement | a complete musical unit in a multimovement work
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| Dynamics | refers to levels of loudness or softness
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| Transition | section of music that connects two larger units of form
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| Coda | section of music that brings a piece of music or a movement to a more satisfactory close (coda=tail)
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| pitch | (psychological) refers to how high or low a sound is
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| Frequency | (physical) 20-20,000 cps(cycles per second)
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| Loudness | (psychological) experience of loudness is a "personal thing"
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| Intensity | (physical) measured in decibels (dB) 0+ - 140dB
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| Tone Color | (psychological) the quality of a sound; often referes to as "timbre"
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| Overtones | (physical) faint tones that sound higher than the note played
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| Duration | (psychological) long or short notes, or silences; psychological time
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| Clock Time | (physical) actual clock time
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| Pizzicato | plucking the strin with a finger
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| Double Stop | playing two strings at the same time
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| Vibrato | rocking the finger on the string to produce slight changes in pitch (frequency)
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| Tremolo | the rapid bowing of the same note
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| Harmonies | delicate high pitches produced by lightly touching the string when playing
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| Mute | a device that softens the tone
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| Single-Reed Instruments | clarinets, saxaphones
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| Double-reed instruments | oboe, english horn, bassoon
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| Articulation | the manner in which notes are played
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| legato | notes smoothly connected
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| Stacatto | notes are sperated/detached
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| Genre | a term used to define a broad category of works. The following are examp0le of the use of the word genres: concertos, symphonies, sacred music...
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| Medium | refers to the instruments or groups that perform a piece. Ex. string quartet, orchestra, piano solo
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| Medieval Period | (450-1450) ofter referres to as the middle ages.
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| Secular | music refers to non-religious music
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| Sacred | music is used in worship or other activities of religious ritual
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| 3 classes of people | nobility-powerful and illiterate, clegy-powerful and literate, peasants- powerless and illiterate
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| Gregorian Chant | the officail liturgical music of the Roman Catholic Church (modified by Pope Gregory I ("the Great")
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| Charecteristics of a Gregorian Chant | monophonic texture, nonmetric, based on scales known as old church modes, use a latin text, text settings:syllabic or melismatic, and sung "a capella"
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| syllabic | a text set with one syllable per note
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| Melismatic | a text set with one syllable per note
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| Old Church Modes | scales used in the Medieval and Renaissance Periods, having different arrangements of half and whole steps that the scales we use today.
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| The Mass | the official liturgical rite of the Roman Catholic Church
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| Organum | refers to the 1st examples of polyphonic music,originating around 1000 A.D.
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| Ordinary of the Mass | Kyrie(Mercy3x3x3), Gloria (praise), Credo(belief System), Sanctus(3x praise), Agnus Dei(mercy 3x)
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| Motet | a sacred vocal composition in polyphonic texture with a latin text, sung in a capella
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| a capella | meaning "in the church style" refers to vocal music without instrumental accompaniant
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| Traveling Minstrels | (Medieval Period) of various social classes, sang songs and played dance music
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| Troubadours & Trouveres | higher-class poet-singers-composer musicians (france)
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| Jongleurs | rather seedy, despicable charecters of lower social order
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| Machaut | the most important composer of the 14th century. most famous for writing the 1st complete setting of the ordinary of the Mass("notre Dame" mass). wrote many chansons(songs) based on poems of "courtly love" and chivalry
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| Renaissance Period | (1450-1600) historical time of Columbus and Da Vinci... the printing press one of the most significant inventions of all history. rise of humanism- a philosophical attitude rooted in human experience and aligned with reason and scientific inquiry
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| Musical Charecteristics of the16th century | vocal music reigns supreme. imatative polyphonic predominates. Rise in instrumental music. Harmonies based on chords
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| Josquin | the most significant somposer of the Renaissance, who flourished about 1500( was as significant on future generations as Beethoven)
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| "Ave Maria" | an example of a motet polyphonic, sacred vocal work with a latin text, and sung a capella
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| Pope Marcellus Mass | believed to have been composed to show that Mass texts could be understood in polyphonic texts
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| Kyrie Eleison | downward (bowing before God the Father) melodies
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| Christe Eleison | greater intamacy (christ as human) with descending melodic lines.
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| Kyrie Eleison | asks holy spirit for mercy; optimism with belief in mercy being granted
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| Gloria | hymn of praise; palestrina sets the text often in homophonic texture so that words can be easily understood
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| Madrigal | the secular counterpart of the motet; composed as a source of entertainment, with tests dealing with pastoral or amorous subjects
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| Word Painting | refers to the use of musical gestures to depict particular words of text
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