![Music Glossary](http://s1.studyres.com/store/data/016046730_1-1a91d80d457cdea94201792f3cfdf55c-300x300.png)
Music Glossary
... notes of a scale creating a drone; (types of borduns: simple; complex; broken; crossover) brass – a group of wind instruments made of brass and other metals and played by blowing through a cup-shaped or funnel-shaped mouthpiece; the chief brass instruments of the orchestra are the trumpet, trombone, ...
... notes of a scale creating a drone; (types of borduns: simple; complex; broken; crossover) brass – a group of wind instruments made of brass and other metals and played by blowing through a cup-shaped or funnel-shaped mouthpiece; the chief brass instruments of the orchestra are the trumpet, trombone, ...
Romantic and impressionist harmony
... dominated by extended tertian harmony and chromaticism. Schubert provides us with his Sanctus (Ab major mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and en ...
... dominated by extended tertian harmony and chromaticism. Schubert provides us with his Sanctus (Ab major mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and en ...
Grade 1
... rhythm patterns, and begin to recognize the difference between a note and a rest. Basic music reading abilities, such as identifying quarter notes and rests and determining melodic direction on a staff, are also addressed during this grade. First-grade students are able to sing pitches within the ra ...
... rhythm patterns, and begin to recognize the difference between a note and a rest. Basic music reading abilities, such as identifying quarter notes and rests and determining melodic direction on a staff, are also addressed during this grade. First-grade students are able to sing pitches within the ra ...
Medieval Music (early music)
... • a fixed form, consisting of two or three short stanzas • Imitation: where one melodic line shares, or "imitates," the same musical theme as a previous melodic line became an important polyphonic technique. ...
... • a fixed form, consisting of two or three short stanzas • Imitation: where one melodic line shares, or "imitates," the same musical theme as a previous melodic line became an important polyphonic technique. ...
Traditional composition techniques
... inversion mirrored contour; e.g., subject and inversion in Bartok's Music for Strings, Percussion and Celeste, first movement isomelos same notes, different rhythm; used constantly in dodecaphony microtones intervals smaller than a semitone non-tonal scales scale structures that are symmetric in con ...
... inversion mirrored contour; e.g., subject and inversion in Bartok's Music for Strings, Percussion and Celeste, first movement isomelos same notes, different rhythm; used constantly in dodecaphony microtones intervals smaller than a semitone non-tonal scales scale structures that are symmetric in con ...
Variation Structures - davenantperformingarts
... • A variation is where a main musical idea is repeated but changed each time ...
... • A variation is where a main musical idea is repeated but changed each time ...
Harmony from the Inside
... forbiddingly technical. If we can get ‘inside’ harmonic processes we can both start to make sense of theoretical concepts, and unlock new possibilities for musical pleasure. Session outcomes: - To be able to recognise 3 types of chords: Triads, Barbershop 7ths, ‘Colour Chords’ - To appreciate their ...
... forbiddingly technical. If we can get ‘inside’ harmonic processes we can both start to make sense of theoretical concepts, and unlock new possibilities for musical pleasure. Session outcomes: - To be able to recognise 3 types of chords: Triads, Barbershop 7ths, ‘Colour Chords’ - To appreciate their ...
0410 music - PastPapers.Co
... Line 8 is set to a contrapuntal/polyphonic texture/lines interweave [1] at first, with the voices coming in one by one [1] singing the same motif/in imitation/in canon/fugue [1]. The voices come together at the end of the line [1]. Line 9 is sung homophonically/in chords [1]. Instruments double the ...
... Line 8 is set to a contrapuntal/polyphonic texture/lines interweave [1] at first, with the voices coming in one by one [1] singing the same motif/in imitation/in canon/fugue [1]. The voices come together at the end of the line [1]. Line 9 is sung homophonically/in chords [1]. Instruments double the ...
Glossary and Resource List
... Theme: A melodic subject or main idea of a musical composition or movement. Timbre: Quality of sound that distinguishes one instrument or voice from another. Tonality: Central note, scale and chord within a piece, in relationship to which all other tones in the composition are heard. Tone Poem: a po ...
... Theme: A melodic subject or main idea of a musical composition or movement. Timbre: Quality of sound that distinguishes one instrument or voice from another. Tonality: Central note, scale and chord within a piece, in relationship to which all other tones in the composition are heard. Tone Poem: a po ...
7th Grade Elements Test
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
Music Elements Test PDF
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
File - The Whole Schools Initiative
... Whole Schools Summer Institute 2014 “Music expresses that which cannot be said and on which it is impossible to be silent.” -Victor Hugo ...
... Whole Schools Summer Institute 2014 “Music expresses that which cannot be said and on which it is impossible to be silent.” -Victor Hugo ...
Sheet Music - Murray High School, Lavington
... lines player together. • Heterophonic – two or more lines played at the same time with variations of the melody ...
... lines player together. • Heterophonic – two or more lines played at the same time with variations of the melody ...
File
... Why do you think drums are used a lot in African music? • Very traditional, used a very long time ago, no communication through telephones or email • Think about the materials they have in Africa – not a very wealthy continent, like America or Europe ...
... Why do you think drums are used a lot in African music? • Very traditional, used a very long time ago, no communication through telephones or email • Think about the materials they have in Africa – not a very wealthy continent, like America or Europe ...
chapter14
... Expanded Sectional Forms Sectional forms also include music that has two or more sections without repetition of melodic material. •“Help Me Make It Through the Night” Verse Chorus Bridge •“Crazy Train” Verse, Chorus, Bridge ...
... Expanded Sectional Forms Sectional forms also include music that has two or more sections without repetition of melodic material. •“Help Me Make It Through the Night” Verse Chorus Bridge •“Crazy Train” Verse, Chorus, Bridge ...
Guidelines for the Analysis of Twentieth
... IV. Harmony and other pitch-related considerations: In the 20th century traditional functional harmony generally gives way to other means of establishing harmonic coherence. The following should be noted: A. Pandiatonicism — free use of notes within a diatonic scale. B. Extended harmonic sonorities. ...
... IV. Harmony and other pitch-related considerations: In the 20th century traditional functional harmony generally gives way to other means of establishing harmonic coherence. The following should be noted: A. Pandiatonicism — free use of notes within a diatonic scale. B. Extended harmonic sonorities. ...
Elements of Music: Sound, Melody, Rhythm, and Harmony
... Full file at http://testbanknet.eu/ Solution-Manual-for-Experience-Music-3rdEdition-by-Charlton what he or she has heard before and relate that to what he or she hears in the present. Much folk and popular music is short and repetitive with very little thematic development. More complex works—a Moz ...
... Full file at http://testbanknet.eu/ Solution-Manual-for-Experience-Music-3rdEdition-by-Charlton what he or she has heard before and relate that to what he or she hears in the present. Much folk and popular music is short and repetitive with very little thematic development. More complex works—a Moz ...
Music unit of work: an example of a completed medium
... reflected in: • appropriate scale patterns chosen • basic use of sound effects, clusters, melodic lines • some simple development of motif Above: understands adverts well – selling point clearly identifiable in: • scale pattern used to create effective melodic line • imaginative use of sound effects ...
... reflected in: • appropriate scale patterns chosen • basic use of sound effects, clusters, melodic lines • some simple development of motif Above: understands adverts well – selling point clearly identifiable in: • scale pattern used to create effective melodic line • imaginative use of sound effects ...
Harmony 1
... Developing knowledge and skills in independent , practical and analytical , theoretically based approach to musical literature. Practical mastery of style and characteristic harmonic phenomena. SYLLABUS (brief outline and summary of topics, max. 10 sentences) Development of tonality-consonance and d ...
... Developing knowledge and skills in independent , practical and analytical , theoretically based approach to musical literature. Practical mastery of style and characteristic harmonic phenomena. SYLLABUS (brief outline and summary of topics, max. 10 sentences) Development of tonality-consonance and d ...
Traditional sub-Saharan African harmony
![](https://commons.wikimedia.org/wiki/Special:FilePath/A_pentatonic_scale_in_descending_order.jpg?width=300)
Sub-Saharan harmony is based on the principles of homophonic parallelism (similar chords changing simultaneously), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the ""span process"", ""pedal notes"" (a held note, typically in the bass, around which other parts move), ""Rhythmic harmony"", ""harmony by imitation"", and ""scalar clusters"" (see below for explanation of these terms).