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Unit 8 Practice Test
Unit 8 Practice Test

... 10) The use of two or more keys at one time is known as A) atonalit y B) polytonality C) a tone cluster D) the twelve-tone system 11) The absence of key or tonality in a musical composition is known as A) polytonality B) ostinato C) a tone cluster D) atonalit y 12) The first significant atonal piece ...
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... The  first  of  these  three  songs  opens  with  a  rollicking,  dance hall introduction which settles into an "oompah‐ ing"  ostinato  rhythm  as  the  voice  enters.  Like  many  Satie  mélodies,  it  seems  to  deliberately  avoid  linear  structure and is as charmingly aimless as the text, whic ...
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... • The fraction appearing at the beginning of the music or section indicating the mathematical organization of rhythm. It is also known as the time signature. ...
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... The main units of time, or rhythm, are called measures or bars. Each bar contains a small number of beats, usually 4, 3, or 6. The number of beats per bar is usually set for an entire piece of music by the time signature at the beginning of the piece. Each beat within a bar can be further subdivided ...
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... a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element.  Program music Tells a "story" without words. Instruments only. a form of art music intended to evoke extra-musical ideas, images in the mind of the listener by musically rep ...
Thomas A - Music at Thomas Edison
Thomas A - Music at Thomas Edison

... instrumentation. Each instrument has its own tone color, and composers use and blend those colors much as a painter uses various paints. Orchestration – ______________________________________________________________________ ...
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Ostinato



In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's Boléro or Giorgio Moroder's I Feel Love.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.Within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A ""favorite technique of contemporary jazz writers"", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.
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