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| single musical sound or the written symbol representing the sound |
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| the frequency of vibrations (high to low) |
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| the unique quality of sound of an instrument or voice determined iu the overtones present in that instrument (bright to dark) |
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| relative length of a note (long and short) |
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| the way a note is articulated (legato or staccato) |
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| the note is attached to its neighbors |
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| the note is detatched from its neighbors |
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| the temporal aspects of music |
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| a signal or pulse that marks the passing of time in more or less regular segments of equal duration |
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| the speed of the beats , often measured in the number of beats per minute |
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| the grouping of beats, most oftern in twos and threes in which the first beat of the group has a greater stress placed on it than ton the subsequent beats |
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| the occurrence of a strong accent on a part of the measure where an accent does not usually occur, this accent replacing the normally expected one |
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| this occurs when notes are perceived as belonging to larger units. This involves understanding the realtionshops that obtain among the notes within the group |
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| a series of events that are perceived as a unit. from small local events to large global ones. smaller may compund into bigger |
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| the metrical grouping of beats. first beat is accented or stressed. regular, predictable. |
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a group of measures, often 4 or 8 that end in a cadence
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consists of two notes or chords that defines a point of harmonic arrival
half- sounds open
full- sounds closed |
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| a combination of two notes related in terms of their pitch, melodic or harmonic |
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| a combination of three or more notes related in terms of their pitch either sounding simultaneously or perceived as a group unit |
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| any simultaneity characteristic within a a given context; relatively stable unit within a given historical/stylistic context |
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| any simultaneity not characteristic within a specific context; creates instability and evokes tension within a given historical or stylistic context |
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| pitch that functions as the most stable one in a work. center of gravity around which the other pitches move and to which they relate |
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| stable musical statement, presented in regular phases and ends in a cadence |
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| the smallest group that obtains significance through its variation and development. drawn from themes. may be strictly rhythmic patterns or patterns of pitch contour or combinations of both |
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| a type of variation in which an entire melodic-rhythmic pattern is moved to a higher or lower pitch level |
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| a type of variation in which an entire melodic-rhythmic pattern is “turned upside down” so that each ascending or descending motion is reversed |
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| a series of three or more transpositions in a regular ascending or regular descending pattern |
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| a series of adjacent notes successively ascending or descending. |
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| conjunct (stepwise) motion |
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| movement between adjacent notes |
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| disjunct (leaping) motion |
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| melodic movement that skips over notes of the scale pattern |
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| one unaccompanied melody without additional parts or accompaniment |
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| one melody supported by an accompaniment that is most often chordal or simple by nature; melody seems more important |
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| two or melodies played simultaneously |
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| there is one theme with multiple overlapping statements |
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| two or more themes stated simultaneously |
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density of event in the music
density of sound- transparent or dense |
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| one unaccompanied melody without additional parts or accompaniment |
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| one melody supported by an accompaniment that is most often chordal or simple by nature; melody seems more important |
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| two or melodies played simultaneously |
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| there is one theme with multiple overlapping statements |
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| two or more themes stated simultaneously |
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density of event in the music
density of sound- transparent or dense |
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