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| form of music derived from a style of american folk songs (the blues); now used in jazz and popular music |
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| form found in most styles derived from wester european music, such as religious, folk, jazz, and popular |
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| stress of emphasis on a particular tone |
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| science of sound; physical basis of music. includes frequency, range, echo, graphic equalizers, and signal-to-noise ratios. |
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| study of emotional and expressive aspects of music. |
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| point of response at the ending of a musical phrase |
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| 3 or more simultaneous sounds |
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| groups of frequencies (high/low) |
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| A relatively stable, comfortable sound that seems to be at rest in contrast with a dissonant, restless sound |
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| shape of a melody (smooth-small intervals, jagged-wide skips) |
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| departure from what has already been presented; achieved through different tonality, rhythm, melody, tempo, dynamic leve, articulation, or mood |
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| active, unstable sound; type of tension |
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| first beat of each measure in western notated music |
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| rhythmic pattern where alternate beats are stressed (strong-weak-strong-weak) |
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| length of time a pitch sounds |
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| shape/structure of a piece of music |
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| tendency to have momentum; to move from one point to the next, such a from the beginning of a phrase to its conclusion |
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| type/category of music. eg., symphony, hymn, song, march, opera |
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| simutaneously created/performed/listened to by performer |
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| elements of contrast that set up returns to passages that have stability |
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| degree of intensity/energy producing sound |
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| organization of rhythm into a pattern of strong and weak beats |
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| combos of duple and triple meter |
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| smallest group of notes gaving an identifiable character; can be melodic, harmonic, or rhythmic |
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| no ryhthmic pattern can be perceived in a piece of music |
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| use of written/printed symbols to represent muscial sounds; performer reads and interprests creator's symbols |
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perceptive listening p. 25 |
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| listening attentively to understand musical processes/structure that give it its characteristic qualities |
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| high/lowness of a tone produced by a single frequency |
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| (pitch) melody consists of sounds perceived as regusters - high/med./low (sop./alto/tenor/bass) |
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| return to previously stated material; may be slightly modified but contains same basic characteristics |
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| created by variety of changes in the duration of pitches |
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| ascending/descending series of organized pitches |
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| printed version of a piece of music |
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| elements are more famiiar, comfortable and satisfying |
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| occurance of accents in unexpected places, usually on weak beats or on weak parts of beats |
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| A perception of instability in traditional Western music, often marked by increased harmonic or rhythmic changes, rise in pitch or dynamic level. |
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| density of sound; number of simutaneously sounding lines (can be full & thick or thin & transparent) |
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| characteristic quality of the sound of a voice or instrument |
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| "home tone" eg., key of F |
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| (tambre) characteristic quality of a voice/instrument |
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| rhythmic pattern where the first of every 3 beats is stressed (strong-weak-weak) |
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| music that doesn't ramble and is cohesive, whth an exact or modified repitition of themes and patterns |
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variety (aka departure) p. 30 |
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| musical theme that is different from what has already been presented (a point of contrast) |
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| form found in american popular songs and religious music; text varies in each verse repition, chorus is repeated after each return |
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vertical organization p. 28 |
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| pitches which are heard simultaneous |
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white sound/white noise p. 27 |
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| entire range of frequencies sounding at once |
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