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| Emphasis of a note, which may result from its being louder, longer, or higher in pitch than the notes near it. |
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| (contralto) Female voice of low range |
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| moderately slow, a walking pace |
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| Regular, recurrent pusation that divides music into equal units of time |
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| Two part form (A B) Form that can be represented as statemet (A) and counerstatement (B). {AA BB} |
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| (1) Resting place at the end of a phrase in a melody (2) Progression giving a sense of conclusion, often form the dominant chord to the tonic chord |
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| Compination of three or more tones sounded at once. |
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| Definite resting place, giving a sense of finality, at the end of a phrase in a melody. |
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| Tone combination that is stable and restful. |
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| Striking differences of pitch, dynamics, rhythm, and tempo that provide variety and chage of mood. |
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| Tone combination that is unstable and tense. |
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| degrees of loudness or softness in music |
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| How chords are constructed and how they follow each other. |
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| music in which one main melody is accompanied by chords |
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| Inconclusive resting point at the end of a phrase which sets up expectations for phrases to follow. |
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| (tonality) central note, scale, and chord within a piece, in relationship to which all other tones in the composition are heard. |
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Happy
Series of seven different tones within an octave with an eighth tone repeating the first tone an octave higher, consisting of a specific pattern on whole and half step; the whole step between the second and third tones is characteristic. |
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| Series of single tones that add up to a recognizable whole. |
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| Organization of beats into regular groups |
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| Series of seven tones within an octave, with an eighth tone repeating the first tone an octave higher, composed of a specific pattern of whole and half steps; the half step beween the second and third tones is characteristic. |
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| Single melodic line without accompaniment |
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| Fragmet of a theme, or short musical idea that is developed within a compostion. |
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| Piece that sounds fairly complete and independent but is part of a larger composition. |
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| Repetition, Contrast, Variation, Ternary Form, Binary Form |
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| Number of layer of sound that are heard at once, what kinds of layers they are, and how that are related to each other |
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| Performance of two or more melodic lines of relatively equal interest at the same time. |
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| As fast a tempo as possible |
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| reiteration of a phrase, section, or entire movement, often used to create a sense of unity. |
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| Ordered flow of music through time; the pattern of durations of notes and silencese in music |
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| Female voice of high range. |
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| Accenting of a note at an unexpected time, as between two beats or on a weak beat. |
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| Male voice of high range. |
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| Three part form (A B A) Form that can be represented as statement (A); contrast (B); return to statement (A) |
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| Melody that serves as the starting point for an extended piece of music. |
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| music which is for the most part predictable. |
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| (timber) Quality of sound that distinguises one instrument of voice from another. |
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| Changing some features of a musical idea while retaining others. |
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| Voice ranges which include coloratura soprano, lyric soprano, dramtic soprano, lyric tenor, dramatic tenor, basso buffo, and basso profondo, amonf others. |
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