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A process by which rhythmic irregularity is created through the
addition of a note value or rest to a rhythmic figure. |
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When the effect on the listener is one of unequal groupings of
subdivisions being added together. |
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Refers to music in which various elements of a composition are, in
varying degrees, determined by chance. |
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Indicate that a given chord member is to be lowered
(flatted) or raised (sharped) by a semitone. |
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A term that refers to music that avoids reference to a tone center or
centers. |
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| Bitonality, Bimodality or Polytonality |
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When two or more key centers are heard
at the same time. |
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Involves parallel movement of vertical sonorities whose
structures are identical. |
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A technique whereby the composer intentionally violates the
normal metric accent pattern implied by the meter, shifting the accent to a
relatively weak beat. |
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| Music composed using the twelve-tone method. |
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| Half-Step/Minor Third Scale |
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A six-note collection derived from the
juxtaposition of two augmented triads at the interval of a half step. |
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A term originally applied to a style of painting that sprang up
in France in the nineteenth century, the concept was reflected in music by a
turning away from more orderly formal procedures of the late eighteenth and
early nineteenth centuries and a fascination with color, as expressed through
harmony, instrumentation, and the use of rhythm. |
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A pitch class set and its mirror inversion (or inversion
followed by transposition) are considered to be equivalent. |
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The deliberate juxtaposition of minute melodic fragments
of contrasting timbre and register. |
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Term used by Elliott Carter to describe a method of
changing tempo by equating a particular note value to another note value, or
proportional note value, usually in the next bar. |
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| The use of rapidly changing meter signatures. |
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A technique wherein natural sounds – such as a voice, an
instrument, or the ticking of a clock – are recorded and then subjected to
modification by means of altered playback speed, reversed tape direction,
fragmentation and splicing of the tape, creation of a tape loop, echo effect, and
other timbral manipulations. |
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| Normal Order (or Normal Form) |
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To arrange members of a pitch class set into
an arbitrary ordering that is most compact. |
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| The interval between the first and last note of an ordering. |
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The attempt to equalize the seven tones of the diatonic scale so
that no single pitch is heard as a tone center. |
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| A set of five pitch classes. |
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Five note scale which has played a significant role in music,
particularly non-Western music. |
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| The use of chords in parallel motion. |
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| The atomization of the melodic line. |
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Refers to the use of two or more meters at once, whether explicitly
notated or not. |
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Denotes a musical texture in which the listener is made aware of
two or more contrasting rhythmic streams. |
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| A sonority derived from stacked 4ths. |
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| A sonority derived from stacked 5ths. |
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A digital recorder that stores “sequences” of MIDI information rather
than actual sounds. |
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The process whereby such aspects of music as the subdivisions of
the beat, dynamic level of individual pitches, and, in the case of instrumental
music, choice of timbre were decided on by means of a predetermined rhythmic,
dynamic, and/or timbral series. |
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The sonority in which both the major and minor quality are
built on the same root. |
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A vocal effect which is a cross between singing and dramatic
declamation. |
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Any collection of three or more adjacent pitches in secundal
relationship. |
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Vertical sonorities that may result from whole-tone
simultaneities. |
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