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| succession of single tones or pitches perceived by the mind as a unity |
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| an accompanying melody sounded against the principal melody |
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| distance and relationship between two pitches |
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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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| the controlled movement of music in time |
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| regular pulsation; a basic unit of length in musical time |
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| organization of rhythm in time; the grouping of beats into larger, regular patterns, notated as measure. In simple meters, such as duple, triple, and quadruple, each beat subdivides into two; in compound meters, such as sextuple, each beat divides into three |
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| a rhythmic grouping or metrical unit that contains a fixed number of beats;in notated music, as it appears as a vertical line through the staff |
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| first beat of the measure, the strongest in any meter |
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| last beat of a measure, a weak beat, which anticipates the downbeat(the first beat of the next measure) |
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| a weak beat or any pulse between the beats in a measured rhythmic pattern |
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| basic metrical pattern of two beats to a measure |
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| basic metrical pattern of 3 beats to a measure |
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| basic metrical pattern of 4 beats to a measure |
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| deliberate upsetting of the meter or pulse through a temporary shifting of the accent to a weak beat or an offbeat |
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| simiultaneous use of several rhythmic patters or meters, common in 20th-century music and in certain African music |
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| music lacking a strong sense of beat or meter, common in certain non-Western cultures |
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| groupings of irregular numbers of beats that add up to a larger, overall pattern |
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| simple meter/complex meter |
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| grouping of rhythms in which the beat is subdivided into 2 as in duple, triple, and quadruple/subdivided into 3 |
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| Simultaneous combination of three or more tones that constitute a single block of harmony |
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| a series of tones or pitches in ascending or descending order. Scale tones are often assigned numbers(1-8) or syllables(do-re-mi-fa-so-la-ti-do) |
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| interval between two tones seven diatonic pitches apart; the lower note vibrates half as fast as the upper and sounds an octave lower |
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| a common chord type consisting of three pitches built on alternate scale tones of a major or minor scale(1-3-5 or 2-3-6) |
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| based on principles of major-minor tonality, as distinct from modal |
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| Combination of tones that sounds discordant and unstable, in need or resolution |
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| Concordant or harmonious of tones that provides a sense of relaxation and stability in music |
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| smallest interval used in the Western system; octave divides into twelve such intervals, on the piano, the distance between any two adjacent keys, whether black or white/interval consisting of two half-steps, or semitones |
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| musical symbol (#) that indicates raising a pitch by a semitone/musical symbol(b) that indicates lowering a pitch by a semitone |
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| defines the relationship of tones with a common center or tonic. Also a lever on a keyboard or woodwind instrument |
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| melody or harmony built from the seven tones of a major or minor scale. Encompasses patterns of seven whole tones and semitones |
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| melody or harmony built from many if not all 12 semitones of the octave. Consists of an ascending or descending sequence of semitones |
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| five-note pattern used in some African, Far Eastern, and Native American musics; can also be found in Western music as an example of exoticism |
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| process of changing from one key to another |
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| the first note of a scale(keynote “do”), which serves as the home base around which the other pitches revolve and to which they ultimately gravitate |
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| shifting a piece of music to a different pitch level |
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| Single-line texture, or melody without accompaniment. |
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| Texture in which two or more voices (or parts) elaborate the same melody simultaneously, often the result of improvisation. |
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| Texture with principal melody and accompanying harmony, as distinct from polyphony. |
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| texture in which all voices or lines move together in in the same rhythm |
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| Two or more melodic lines combined into a multivoiced texture, as distinct from monophonic |
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| The compositional art of combining two or more simultaneous melodic lines (polyphonic texture); term means “point against point” or “note against note.” |
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| Compositional technique in which a melodic idea is presented in one voice (or part), then restated in another while the first voice continues with new material. |
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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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| Perpetual canon at the unison in which each voice enters in succession with the same melody (for example, Row, Row, Row Your Boat). |
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| Creation of a musical composition while it is being performed, seen in Baroque ornamentation, cadenzas of concertos, jazz, and some non-Western musics. See also embellishment. |
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| Song structure in which the same music is repeated with every stanza (strophe) of the poem. |
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| Two-part (A-B) form is based on statement and departure. Also two-part form. |
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| Three-part (A-B-A) form based on a statement (A), contrast or departure (B), and repetition (A), Also three-part form. |
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| Melodic idea used as a basic building block in the construction of a composition. Also subject. |
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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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| Performance style with a singing leader who is imitated by a chorus of followers. Also responsorial singing. |
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| A short melodic, rhythmic, or harmonic pattern that is repeated throughout a work or a section of one. |
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| Complete, self-contained part within a larger musical work. |
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| Rate of speed or pace of music. Tempo markings are traditionally given in Italian; |
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| Moderately slow or walking pace. |
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| Element of musical expression relating to the degree of loudness or softness, or volume, of a sound. |
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| The Italian term for “very soft,” indicated in the musical score by the marking |
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| The Italian term for “moderately soft,” indicated in the musical score by the marking |
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| The Italian term for “moderately loud,” indicated in the musical score by the marking |
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| The Italian term for “loud,” indicated in the musical score by the marking |
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| The Italian term for “very loud,” indicated in the musical score by the marking |
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| The dynamic effect of gradually growing louder, indicated in the musical score by the marking “<." |
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| The dynamic effect of gradually growing softer, indicated in the musical score by the marking “>.” Also referred to as diminuendo. |
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| A sudden stress or accent on a single note or chord, indicated in the musical score by the marking |
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| The Young Person’s Guide to the Orchestra |
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Date:1946
Composer: Benjamin Britten |
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Alleluuia, O virga mediatrix
(Alleluia, O mediating branch) |
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Date: Late 12th century
Composer: Hildegard of Bingen |
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Gaude Maria virgo
(Rejoice Mary, virgin) |
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Date: Early 13th century
Composer: Notre Dame School |
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Sumer is icumen in
(Summer is come) |
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Date: c.1250
Composer: Anonymous |
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Puis qu’en oubli
(Since I am forgotten) |
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Date: Mid 14th century
Composer: Machaut |
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Ave Maria,,,virgo serena
(Hail Mary…gentle virgin) |
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Date: 1480s
Composer: Josquin – uses canon technique, sacred and secular music
Latin Motet, acapella, sacred, imitation in voices |
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| Pope Marcellus Mass, Gloria |
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Date: Published 1567
Composer: Palestrina – polyphony, diatonic, modal, imitative counterpoint |
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11 bianco e dolce cigno
(The white and sweet swan) |
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Date: Published 1538
Composer: Arcadelt |
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Date: Published 1599
Composer: Farmer |
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Date: Published 1551
Composer: Susato |
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