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| how high or low a note is |
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| The difference between two pitches |
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| a strong, regular, repeated pattern of movement or sound |
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| A recurring pattern of stresses or accents that provide the pulse or beat of music. |
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| The speed of the rhythm of a composition |
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| Deliberate upsetting of the meter or pulse of a composition by means of a temporary shifting of the accent to a weak beat or an off-beat |
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| The number of vibrations per second of a musical pitch, usually measured in Hertz (Hz). |
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| The loudness or softness of a composition. |
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| The amplitude determines how loud a sound will be. Greater amplitude means the sound will be louder |
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| The particular sound of an instrument or voice, as well as the performer’s particular coloring of that sound. For example, the tone produced by a certain clarinetist could be said to be rich, dark, and mellow; this is the result of the natural sound of the instrument, combined with the performer’s particular technique of playing. |
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| A group of musicians who perform on a variety of instruments. |
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| A tune; a succession of tones comprised of mode, rhythm, and pitches so arranged as to achieve musical shape |
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| the color scheme or range of tones used in a picture. (major or minor scale) |
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| A series of notes in ascending or descending order that presents the pitches of a key |
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| In music theory, a diatonic scale (or heptatonia prima) is an eight-note musical scale composed of seven pitches and a repeated octave. |
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| The chromatic scale is a musical scale with twelve pitches, each a semitone above or below another. |
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| The musical basis upon which a composition is built. |
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| The motive is a rhythmic-melodic pattern that is used to build a phrase. |
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| a sequence of notes or chords comprising the close of a musical phrase. |
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| An accord of sounds sweet and pleasing to the ear as opposed to dissonance. |
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| Two or more notes sounded together which are discordant. SOUNDS HORRIBLE |
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| In music, texture is the way the melodic, rhythmic, and harmonic materials are combined in a composition |
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| Music that is written for only one voice |
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| Musical piece sung with multiple voices. Each voice may move independently |
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| A style of composition in which there is one melody, and all the voices and accompaniments move rhythmically together. |
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| The structure of a composition, the frame upon which it is constructed. Form is based upon repetition, contrast, and variation. |
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| The process of changing from one key to another. |
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| Style or manner of a musical composition. |
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| The music from a period of about 600 C.E. until about 1450 C.E. Sometimes the period is divided into two periods, the early middle ages (600-1100 C.E.) and the late middle ages or Gothic Period (1100-1450 C.E.). |
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| Plainchant, also called plainsong, is a form of medieval church music that involves chanting;Plainchant doesn’t use any instrumental accompaniment, instead, it uses words that are sung. It was the only type of music allowed in Christian churches early on. In Christian tradition, it was believed that music should make a listener receptive to spiritual thoughts and reflections. This was why the melody was kept pure and unaccompanied. |
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| A style of chant used in the Medieval Church. It was usually syllabic, and the text, which was in Latin, was wide-ranging and extensive. 2. A progression of chords which ends in a cadence. |
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| A series of eight services of the Roman Catholic Church performed throughout the day. The divine offices consisted of Psalms, hymns, lessons, responsories, and prayers. |
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| Pope Gregory I, commonly known as Saint Gregory the Great, was Pope from 3 September 590 to his death in 604. |
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| An underlying bass note that is sustained throughout a music piece. |
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| One of a school of poets and musicians popular in southern France, Provence, and northern Italy between the 11th and late 13th centuries. |
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| Song structure in which every verse (strophe) of the text is sung to the same musical tune. |
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| Term referring to the earliest kind of polyphonic music. Organum developed from the practice of adding voices above a plain chant (cantus firmus); these added voices at first ran parallel to the plainchant at an interval of a fourth or fifth |
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| Term referring to the earliest kind of polyphonic music. Organum developed from the practice of adding voices above a plain chant |
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| A paraphrase mass is a musical setting of the Ordinary of the Mass that uses as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source. |
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| The style of chant which sets one note to each syllable of text |
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| Melisma, plural melismata, in music, is the singing of a single syllable of text while moving between several different notes in succession. |
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| A polyphonic vocal style of composition. |
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| French musical style of the 14th century. The term is generally used to distinguish the music from the time period of c.1316 to the death of composer Guillaume de Machaut (1377) from the earlier musical style of the Ars antiqua. During the ars nova period, musical themes were transformed increasingly from religious to secular. |
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| Term used by 14th century composers to distinguish the French sacred polyphonic musical style of the 13th century (c. 1260 – 1320) from that of the ars nova (new art) |
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| That era of music covering the 15th through 16th centuries |
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| the central service of the Roman Catholic Church. In the middle ages, the Mass was chanted and was one of the chief sources of music of that period that survive to the present. |
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| The repetition in a second voice or part of a theme, motif, or phrase presented by a first voice or part. |
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| What it is that we are hearing. (Acapella, vocal, instrumental) |
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| This term is used to refer to the voice as an instrumen. or a piece that is sung |
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| A method of setting text or words to music where rhythms and pitches are used to enhance the meaning or sound of specific syllables of the text. |
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| Musical depiction of words in text. Using the device of word painting, the music tries to imitate the emotion, action, or natural sounds as described in the text. |
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| A vocal music form that flourished in the Renaissance, originating in Italy. The madrigal is generally written for four to six voices that may or may not be accompanied. |
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| A Renaissance dance that took its name from the pavano, or peacock. The pavan is a slow, stately court dance in duple meter, popular throughout Europe; frequently the pavan was used as the first dance in a set of dances. |
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| A lively Renaissance dance in triple meter usually following and complementing the pavane. |
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| A lively dance of the British Isles originating in the 15th century or earlier |
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