|
|
| The rational organization of sounds and silences passing through time |
|
|
|
| The music of all the people |
|
|
|
|
“old music”, written by “dead white men”
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
often referred to as “art” because a particular set of skills is needed to perform and appreciate it
|
|
|
|
| sounds are not electronically altered (trumpet, violin, piano) |
|
|
|
| vocal music that makes use of text, from which the listener abstracts the meaning of the music |
|
|
|
| after an exceptionally pleasing performance, listeners demand that the piece be repeated immediately in an encore |
|
|
|
| a genre or type of music for orchestra |
|
|
|
| symphony divided into several independent pieces, each possessing its own tempo and mood |
|
|
|
| a large ensemble of acoustic instruments such as violins, trumpets, and flutes that play a symphony |
|
|
|
| an orchestra that has played more symphonies than anything else |
|
|
|
|
the brevity of the opening rhythm
short, distinctive musical figure that can stand by itself
|
|
|
|
| one-movement work for orchestra that tries to capture in music the emotions and events associated with a story, play, or personal experience |
|
|
|
| the organization of time in music
divides time into long and short spans |
|
|
|
| even pulse that divides the passing of time into equal units |
|
|
|
|
|
|
|
|
|
| the gathering of beats into regular groups |
|
|
|
| ONE two, ONE two, ONE two
two beats per measure |
|
|
|
| ONE two three, ONE two three
emphasize every third beat |
|
|
|
| ONE two three four, ONE two three four
four beats per measure |
|
| meter signature/time signature |
|
| two numbers placed at the beginning of the music to tell the performer how the beats of the music are to be grouped |
|
|
|
| first beat is indicated by a downward movement of the hand
represents the strongest beat in any given measure |
|
|
|
| the beat signaled by an upward motion, comes before the downbeat |
|
|
|
| a note or two that gives a little momentum or the extra push into the first downbeat |
|
|
|
| musical emphasis that falls directly on the beat
downbeat gets the greatest accent of all |
|
|
|
| places the accent either on a weak beat or between beats |
|
|
|
| speed at which the beats progress |
|
|
|
| slowing down of the music |
|
|
|
| vocal line delivered more like speech than like a song |
|
|
|
| features a wide variety of rhythmic devices |
|
|
|
|
|
|
| the relative position, hight or low, of a musical sound |
|
|
|
| melody reaches a tone that sounds like a duplication of an earlier pitch |
|
|
|
| gridwork of lines and spaces |
|
|
|
| sign that indicates the range of pitch in which the melody is to be played or sung |
|
|
|
| designates the upper range and is appropriate for high instruments like the trumpet and violin |
|
|
|
| covers the lower range and is used for instruments like the tuba and cello |
|
|
|
|
|
|
| raises the note to the piano key immediately above (usually a black one) |
|
|
|
| lowers the note to the next key below |
|
|
|
| cancels either of the two previous signs |
|
|
|
| a fixed pattern of tones within the octave that ascends and descends |
|
|
|
| distance between two pitches in music |
|
|
|
| follows a seven note pattern moving upwards 1-1-1/2-1-1-1-1/2 |
|
|
|
|
|
|
| provides a “key” or guide, telling the musician which sharps or flats are to be applied throughout the piece |
|
|
|
| the first of the seven notes of the scale, and the eighth |
|
|
|
| the organization of music around a central pitch |
|
|
|
| “gravitational field” that embodies both the scale of the melody and the strong pull of its tonic pitch |
|
|
|
| the change from one key to another |
|
|
|
| changing from major to minor, or minor to major |
|
|
|
| makes use of all 12 pitches, equally divided, within the octave |
|
|
|
|
|
|
|