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