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| distance and relationship between 2 pitches |
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| highness or lownes of a tone, depending on the frequency |
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| distance between the lowest and highest tones of a melody, an instrument, or a voice |
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| smooth, connected melody that moves principally by small intervals |
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| disjointed or disconnected melody with many leaps |
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| musical unit;often a component of a melody |
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| resting place in a musical phrase;music punctuation |
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| regular puslation; a basic unit of length in musical time |
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| organization of rhythm in time; the gropuing of beats into larger, regular patterns, notated as measures. |
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| rhythmic group or metrical unit taht contains a fized number of beats, divided on the musical staff by bar lines. |
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| basic metrical pattern of 2 beats to a measure |
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| basic metrical pattern of three beats to a measure |
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| basic metrical pattern of 4 beats to a measure. also common time. |
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| last beat of a measure, a weak beat which anticipates the downbeat |
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| deliberate upsetting of the meter or pulse through a temporary shifting of the acent to a weak beat or an offbeat |
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| simultaneous combination of 3 or more tones that constitute a single block of harmony |
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| series of tones in ascending or describing order:may present the notes of the key |
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| interval between 2 tones seven diatonic pitches apart;the lower note vibrates half as fast as the upper and sounds an octave lower |
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| common chord type, consisting of 3 pitches built on alternate tones of the scale |
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| the first note of the scale or key |
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| principle of organization around a tonic, or home, pitch, based on a major or minor scale |
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| scale consisting of seven different tones that copmrise a specific patter of whole and half steps it differs from a minor scale primarily in that its 3rd degree is raised half a step |
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| scale consiting of 7 difereent tones that comprise a specific pattern of whole and half steps. It differs from the major scale primarily in that its 3rd degree is lowered half a step. |
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| melody or harmony built from the 7 tones of a major or minor sclae. a diatonic scale ecompasses patterns of 7 whole tones and semitones. |
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| melody or harmony built from many if not all twelve semitones of the octave. A chromatic scale consists of an ascending or descending sequence of semitones |
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| combination of tones that sound discordant and unstable, in need of resolution |
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| concordant of harmonious combination of tones that provides a sense of relaxation and stability in music |
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| single-line texture, or melody without accompanient |
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| two or more melodic lines combined int a multivoiced texture, as distinct from monophonic |
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| texture with principal melody and accompanying harmony as distinct from polyphony |
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| the art of combinig in a single texture two or more melodic lines |
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| melodic idea presented in one voice and then restated in another, eac part continuing as others enter. |
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| type of polyphonic composition in which one musical line strictly imitates another at a fixed distance throughout |
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| the compositional procedure of altering a preexisting musical idea |
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| creation if a musical compposition while it is being performed |
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| two-part (A-B) form with each section normally repeated |
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| three-part (A-B-A) form based on a statement (A), contrast or depature (B) and repetition |
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| melodic idea used as a basic building block in the construtcion of a composition |
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| restatement of an idea or motive at a different pitch level |
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| short melodic or rhythmic idea; the smallest fragment of a theme that forms a melodic-harmonic -rhythmic unit |
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| complete, self-contained part within a larger musical work |
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| interval consisting of 2 half steps, or semitones |
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| smallest interval used in the western system; the ocatave divides into 12 such intervals ;distance between any 2 adjacent keys whether black or white |
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| melody or harmony built from many if not all 12 semitiones of the octave; consists of ascending or descending sequence of semitones |
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| musical symbol that indicates raising a pitch by a semitone |
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| musical symbol indicates loweering a pitch by a semitone |
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| defines the relationship of tones witha common center or tonic. Also a lever on a keyboard or woodwind instrument |
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| moderately slow or walking pace |
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| the placement of the lipss, lower facial muscles, and jaws in playing a wind instrument |
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| bowed and plucked instruments whose sound is produced by the vibration of one or more strings |
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| instrumental family made of wood or metal whose tone is produced by a column of air vibrating within a pope that has holes along its length |
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| wind instrument with a cup-shaped mouthpiece, a tube that flares into a bell, and slides or valves to vary the pitch. made with brass or silver |
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| instrument made of metal, wood, stretched skin, or other material that is made to sound by striking, shaking, scarping, or plucking |
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| the quality of a sound that distinguishes one voice or instrument from another |
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| specific area in the range of an instrument or voice |
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| distance between the lowest and highest tones of a melody, an instrument, or a voice |
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| choral music performed without instrumental accompaniment |
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| ensemble music for up to about ten players, with one player to a part |
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| performing group of diverse instruments in various cultures; in western art musi, an ensemble of multiple strings with various woodwind, brass, and percussion instruments |
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| large work for orchestra, generally in three or four movements |
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| general term describing the standard category and overall character of a work |
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| characteristic manner of presentation of musical elements (melody, rhythm, harmony, dynamics, form, etc..) |
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| plainchant/plainsong/gregorian chant |
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| monophonic melody with a freely flwogin, unmeasured vocal line;liturgical chant of the roman catholic church |
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| melodic style with one note to each syllable of text |
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| melodic style with 2 to 4 notes set to each syllable |
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| melodic style characterized by many notes sung to a single text syllable |
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| central service of the roman catholic church |
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| earliest kind of polyphonic music, which developed from the vustom of adding voices above a plainchant |
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| polyphonic vocal genre, secular in the Middle ages but sacred or devotional thereafter |
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| a class of musicians who wandered among the courts and towns |
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| nonreligious music;when texted usually in the vernacular |
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| French monophonic or polyphonic song, especially of the Middle Ages and renaissance, set to either courtly or popular poetry |
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| musical pictorialization of words from the text as an expressive device;a prominent feature of the Renaissance madrigal |
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| “fixed melody” usually of very long notes, often based on a fragment of Gregorian chant that served as the structural basis for a polyphonic composition, particularly in the Renaissance |
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| after the reformation-the protestant revolt lead by Martin Luther- the Catholic church responded with its own reform movement focused on a return to true Christian piety.-strove to recapture loyality of its people |
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| a council of the Roman Catholic church that convened in Trent, Italy, from 1543-1565 and dealt with Counter-reformation issues, including reform of liturgical music |
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