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| the surface activity of music, based upon duration of musical sounds |
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| the underlying pulse of music |
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| a mechanical device used to give percise speeds of beats |
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| refers to the rad of speed of beats |
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| the organization of beats into groups or patterns |
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| the length of a pattern of beats |
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| the vertical lines that show where beat patterns begin and end |
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| refers to music that has no strong sense of beat or meter |
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| the stressing of normally unstressed beats |
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| the succession of single pitches set of rhythm |
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| the distance between two pitches |
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| a more or less incomplete melodic idea that ends with a cadence |
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| a resting point in music that occurs at the ends of phrases |
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| a resting point where the music feels like it must continue on |
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| a resting point that gives the listener a feeling of completion |
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| a complete musical thought (made of two or more phrases) that ends with a complete cadence |
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| refers to repeating a melodic fragment at different pitch levels |
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| the sounding together of two or more notes |
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| three or more notes sounded together; the basic building block of harmony |
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| refers to playing the notes of a chord separately |
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| the movement from one chord to another chord |
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| a series of pitches arranged in order |
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| the first and more important note of a scale, often referred to as the key or keynote |
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| generally refers to major and minor scales |
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| the movement from one key to another |
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| refers to combinations of pitches that sound pleasing |
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| refers to combinations of pitches that sound harsh or unpleasant |
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| refers to how musical layers are heard at once and how they relate to each other |
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| created by a single, unaccompanied melodic line |
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| created by the layering of melodies |
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| a type of polyphonic texture where a melodic idea is presented in one part and is then restated in other parts |
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| another word commonly used to refer to polyphonic texture |
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| created by a primary melody accompanied by secondary harmony (chords) |
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| ways in which composers explored all possibilities of melodic idea |
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| a melody backwards and upside down |
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| making note values shorter |
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| making note values shorter |
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| refers to the arrangement of music ideas, based upon the concepts of repetition, contrast and variations |
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| the restatement of a musical idea or section |
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| change in the music; provides a sense of variety |
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| a modified or changed version of something that was heard before; combines both repetition and contrast |
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| a melodic idea that serves as a building block of a composition |
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| the smallest building block of music; takes on significance through repetition |
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| a complete music unit in a multi-movement work |
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| refers to levels of loudness or softness |
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| plucking the string with a finger |
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| playing two strings at a time |
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| rocking the finger one the string to produce slight changes in pitch |
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| the rapid bowing of the same note |
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| delicate high pitches produced by lightly touching the string when playing |
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| a device that softens the tone |
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| the manner in which notes are played |
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| notes are separated/detached |
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| a term used to define a broad category of works |
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| refers to the instrument or group that performs a piece |
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| music used in worship or other activities of religious ritual |
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| the official liturgical music of the roman catholic church |
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| a text with one syllable per note |
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| scales used in the medieval and renaissance periods; having different arrangements of half and whole steps than the scales we use today |
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| the official liturgical ride of the roman catholic church |
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| refers to the first examples of polyphonic music , originating around 1000 AD |
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| a sacred vocal composotion in polyphonic texture with a latin text sung a cappella |
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| higher-class poet-singer-composers |
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| rather seedy, despicable characters of lover social order |
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| the most important compose of 14th century |
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| refers to the use of musical gesture to depict particular |
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| the most significant composer of the renaissance, who flourished about 1500 |
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| kyrie, gloria, credo, sanctus, angus dei |
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