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| the ‘surface” activity of music, based upon duration of musical sounds |
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| the underlying pulse of music |
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| refers to the rate of the speed of beats |
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meter
duple meter
triple meter
quadruple meter
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the organization of beats into groups or patterns
/>u/>u/
/>uu/>uu/
/>u>u/>u>u/
> = stressed or accented
u = softer
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| the length of a pattern(meter) of beats |
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| the vertical lines that show where beat patterns begin and end |
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| refers to music that has no strong sense of beat or meter |
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| the stressing of single pitches set to rythym |
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| a single note in musical space |
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| a more or less incomplete melodic idea thatt ends with a cadence |
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cadence
“incomplete”
“complete”
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a resting point in music that occurs ar the end of phrases
similiar to a comma
similiar to a period
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| a complete musical thought ( made up of two or more phrases) that ends with a complete cadence |
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| refers to repeating a melodic ragment at different pitch levels ( the melodic pattern begins on successively lower or higher notes) |
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| the sounding together of two or more notes |
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| three or more notes sounded together, the basic building block of harmony |
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| refers to playing the notes of a chord seperately |
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| the movement from one chord to another chord. like like a house with 7 rooms. moving from room to room |
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| a series of pitches arranged on order |
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| the first and most important note of a scale, often referred to as the key or keynote |
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| Generally thought of as “happy” sounding |
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| generally thougt of as “sad” sounding |
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| the movement from one key to another key. like moving from the house with 7 rooms to another house. |
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| refers to combinations of pitches that sound pleasing |
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| refers to a combination of pitches that sounds unpleasant |
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| refers to how musical layers are heard at once, and how they relate to one another |
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| created by a single, unaccompanied melodic line. ( it is the most ancient of all musical textures) |
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created by the layering of melodies
1. Two or more different melodies sounding together
2. The same melody accompanies itself, as in a round
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| a type of polyphonic texture where a melodic idea is presented in one part and is then repeated in other parts |
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| another word commonly used to refer to polyphonic texture |
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| created by a primary melody accomapnied by a secondary harmony (chords) |
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Contrapuntal devices
inversion
retrograde
retrograde inversion
augmentation
diminutation
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ways in which composers explored all possibilities of a melodic idea
a melody upside down
a melody backwards
upside down and backwards
making note value longer
making note value shorter
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| refers to the arrangement of musical ideas, based upon the concepts of repitition, contrast, and variation |
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| the restatement of of a musical idea or section provides sense of unity |
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| change in the music; provides sense of variety |
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| a modified or changed version of something that heard before; combines both repitition and contrast |
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| a melodic idea that serves as a longer building block of composition |
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| the smallest building block of music; takes on significance through repetition |
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| a complete musical unit in a multi movement work |
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| refers to levels of loudness or softness |
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| plucking the string with a finger |
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| playing two strings at a time |
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| rocking the finger on the string to produce slight changes in pitch ( frequency) |
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| the rapid bowing of the same note |
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| delicate high pitches produced by lightly touching the string while playing |
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| a device that softens the tone |
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| oboe, english horn, bassoon |
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articulation
legato
staccato |
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the manner in which notes are played
notes smoothly connected
notes are seperated/detached |
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| a term used to define a broad category of works. the following examples of the word: concertos, symphonies, sacred musioc |
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| refers to the instrument(s) or group(s) that perform a piece |
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| medieval period/middle ages |
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| used in worship or other religious rituals |
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| the officail liturgaical music of the catholic church. codified by Pope Gregory I about 600 A.D. |
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| a text set with one syllable per note |
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| a text set with many notes on one syllable |
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| scales used in the medieval and rennaissance periods, having differetnarrangements of half and whole steps than we use today |
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| refers to the first examples of polyphonic music, originatiingaround 1000 A.D. |
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| a sacred vocal compostion in polyphonic texture with a latintext, sung a capella |
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| meaning in the church style. vocal music without instrumental accompaniement |
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| of various socail classses, sang songs and played dance music |
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| troubadours and trouveres |
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| higher class poet/singer/composer/musicians |
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| seedy, despicable,characters oflower social order |
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| the most important composer of the 14th century. most famous for writing the first complete setting of the Ordinary of the Mass ( Notre Dame Mass) wrote many songs based on poems of courtly love and chivalry |
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| the most significant composer of the renaissance, who flourished about 1500, was as significant to future generations as Beethoven. |
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Kyrie Eleison-prayer for mercy
Gloria-praise
Credo-statement of beliefs
Sanctus(3x)-praise
Agnus dei-mercy |
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| the secular counterpart of the motet; composed as a source of entertainment, with texts sealing with patoral or amourous subjects |
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| refers to the use of musical gesture to depict particular words of text |
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| active last half of 1500s |
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