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| The relative highness or lowness of sound |
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| Degrees of loudness or softness in music |
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| The Particular sound quality of a voice or instrument |
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| A progression of single notes in a musically expressive order |
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| A section or division of a musical line |
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| the point af the end of a musical phrase that wants to pause or stop |
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| A longer melody the introduces the basic subject of a piece |
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| A 3-5 note musical pattern the reoccurs through a piece and helps unify it |
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| A rational progression or combination of chords. Thought of as vertical accompaniment. |
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| 3 or more notes sounded simutaneously |
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| A combination of tones in harmony that is restful and stable |
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| A tone combination in harmony that is unstable, restless, and needs to be resolved |
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| The progression from dissonance to consanance. Tension and release in music |
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| Relates to Melody, Harmony, and Rhythm and how they gravitate towards or away from a tonal center |
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| The tonal center the all notes relate or revolve around |
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| A series of whole and half steps into patterns which form a distinctive key |
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| 3 note chords the present a happy(major) or sad(minor) feeling |
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| The chordal progression for one key to another |
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| The flow of music through time. The aurually perceived relationship of sequential durations of sound and silence patterns that occur through time |
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| Pulsations of equal durations the occur in music |
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| Organization of beats into groups or patterns |
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| The pace of music indicated by the markings such as moderato, andante, or grave |
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| Accenting the normally unaccented beats in rhythm |
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| The structural outline of musical composition |
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| Two part or a-b form. Statement/contrasting statement or verse/chorus |
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| a/b/a form. Statement/contrasting statement/return to original statement |
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| Repeating musical ideas. Creates a sense of unity |
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| Differences in music. Creates Variety in music |
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| How many layers or musical ideas can be heard at once in a piece |
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| A texture with a single, unaccompanied musical texture; one musical idea |
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| One musical idea with harmonic accompaniment or 2 musical ideas |
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| A texture with several intertwining melodies or musical adeas of equal value |
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| Music for church service with religous text |
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| A cappella liturgical chant sung to latin texts of the Roman Catholic mass |
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| One or more long sustained tones accompanying a melody |
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| The set of scales used in the middle ages, and rennaisance. Dorian, Ionian, Lydian |
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| First 2 parts polyphony used with melody and dance line counter melody based on Gregorian Chant (cantus firmus) |
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| Fixed song or Gregorian Chant on which 3 or 4 part motets or madrigals are based in middle ages and Rennaisance |
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| a style of composition formed by Leotin and Perotin in Paris of the 12th century which developed music with measured rhythms in triple meter |
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| music set to the liturgical service of the roman catholic church featuring kyrie, Gloria, Credo, Santus, Agnus Dei, and Benedictus |
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| Music with non religious text. ie madrigals, art songs, opera |
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| Midevil intrumental dance music in triple time with a strong fast beat |
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| poet/musicians often of noble birth who wrote secular love songs or ballads celebrating the heros of the crusades |
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| Middle Ages composers to know |
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| Hildegard, Machaut, Perotin |
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| A vocal polyphonic composition for 3 or 4 voices based on gregorian chant (cantus firmus) using a sacred latin text |
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| presentation of a melodic idea by one voice immediately followed by its restatement by another voice or instrument, as in a round |
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| a short, secular polyphonic composition in 3 or 4 voices set to a stanza poem |
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| setting the rhythm of music to the normal rhythmic patterns of the language used |
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| a compositional technique matching the music to the literal meaning of of the words; high note on word heavan |
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| Rennaissance composers to know |
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| Desprez, Palestrina, Weelkes |
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