Term
|
Definition
| The relative highness or lowness of sound |
|
|
Term
|
Definition
| Degrees of loudness or softness in music |
|
|
Term
|
Definition
| The Particular sound quality of a voice or instrument |
|
|
Term
|
Definition
| A progression of single notes in a musically expressive order |
|
|
Term
|
Definition
| A section or division of a musical line |
|
|
Term
|
Definition
| the point af the end of a musical phrase that wants to pause or stop |
|
|
Term
|
Definition
| A longer melody the introduces the basic subject of a piece |
|
|
Term
|
Definition
| A 3-5 note musical pattern the reoccurs through a piece and helps unify it |
|
|
Term
|
Definition
| A rational progression or combination of chords. Thought of as vertical accompaniment. |
|
|
Term
|
Definition
| 3 or more notes sounded simutaneously |
|
|
Term
|
Definition
| A combination of tones in harmony that is restful and stable |
|
|
Term
|
Definition
| A tone combination in harmony that is unstable, restless, and needs to be resolved |
|
|
Term
|
Definition
| The progression from dissonance to consanance. Tension and release in music |
|
|
Term
|
Definition
| Relates to Melody, Harmony, and Rhythm and how they gravitate towards or away from a tonal center |
|
|
Term
|
Definition
| The tonal center the all notes relate or revolve around |
|
|
Term
|
Definition
| A series of whole and half steps into patterns which form a distinctive key |
|
|
Term
|
Definition
| 3 note chords the present a happy(major) or sad(minor) feeling |
|
|
Term
|
Definition
| The chordal progression for one key to another |
|
|
Term
|
Definition
| The flow of music through time. The aurually perceived relationship of sequential durations of sound and silence patterns that occur through time |
|
|
Term
|
Definition
| Pulsations of equal durations the occur in music |
|
|
Term
|
Definition
| Organization of beats into groups or patterns |
|
|
Term
|
Definition
| The pace of music indicated by the markings such as moderato, andante, or grave |
|
|
Term
|
Definition
| Accenting the normally unaccented beats in rhythm |
|
|
Term
|
Definition
| The structural outline of musical composition |
|
|
Term
|
Definition
| Two part or a-b form. Statement/contrasting statement or verse/chorus |
|
|
Term
|
Definition
| a/b/a form. Statement/contrasting statement/return to original statement |
|
|
Term
|
Definition
| Repeating musical ideas. Creates a sense of unity |
|
|
Term
|
Definition
| Differences in music. Creates Variety in music |
|
|
Term
|
Definition
| How many layers or musical ideas can be heard at once in a piece |
|
|
Term
|
Definition
| A texture with a single, unaccompanied musical texture; one musical idea |
|
|
Term
|
Definition
| One musical idea with harmonic accompaniment or 2 musical ideas |
|
|
Term
|
Definition
| A texture with several intertwining melodies or musical adeas of equal value |
|
|
Term
|
Definition
| Music for church service with religous text |
|
|
Term
|
Definition
| A cappella liturgical chant sung to latin texts of the Roman Catholic mass |
|
|
Term
|
Definition
| One or more long sustained tones accompanying a melody |
|
|
Term
|
Definition
| The set of scales used in the middle ages, and rennaisance. Dorian, Ionian, Lydian |
|
|
Term
|
Definition
| First 2 parts polyphony used with melody and dance line counter melody based on Gregorian Chant (cantus firmus) |
|
|
Term
|
Definition
| Fixed song or Gregorian Chant on which 3 or 4 part motets or madrigals are based in middle ages and Rennaisance |
|
|
Term
|
Definition
| a style of composition formed by Leotin and Perotin in Paris of the 12th century which developed music with measured rhythms in triple meter |
|
|
Term
|
Definition
| music set to the liturgical service of the roman catholic church featuring kyrie, Gloria, Credo, Santus, Agnus Dei, and Benedictus |
|
|
Term
|
Definition
| Music with non religious text. ie madrigals, art songs, opera |
|
|
Term
|
Definition
| Midevil intrumental dance music in triple time with a strong fast beat |
|
|
Term
|
Definition
| poet/musicians often of noble birth who wrote secular love songs or ballads celebrating the heros of the crusades |
|
|
Term
| Middle Ages composers to know |
|
Definition
| Hildegard, Machaut, Perotin |
|
|
Term
|
Definition
| A vocal polyphonic composition for 3 or 4 voices based on gregorian chant (cantus firmus) using a sacred latin text |
|
|
Term
|
Definition
| presentation of a melodic idea by one voice immediately followed by its restatement by another voice or instrument, as in a round |
|
|
Term
|
Definition
| a short, secular polyphonic composition in 3 or 4 voices set to a stanza poem |
|
|
Term
|
Definition
| setting the rhythm of music to the normal rhythmic patterns of the language used |
|
|
Term
|
Definition
| a compositional technique matching the music to the literal meaning of of the words; high note on word heavan |
|
|
Term
| Rennaissance composers to know |
|
Definition
| Desprez, Palestrina, Weelkes |
|
|
