Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-4th-Edition-byCharlton PRELUDE: The Fundamentals of Music CHAPTER 1: Elements of Music: Sound, Melody, Rhythm, and Harmony CHAPTER OUTLINE Sound Tone Note Pitch Frequency Staff Interval Unison Octave Major Scale Pitch Range Dynamics Accent Decrescendo Diminuendo Crescendo Timbre Rhythm Beat Meter Measures Triple Downbeat Duple Quadruple Upbeat Compound Meters Syncopation Tempo Tempo Indications Tempo Changes Rubato Fermata Melody Legato IM 1 | 1 Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-4th-Edition-byCharlton Staccato Phrase Cadence Incomplete Complete Sequence Theme Harmony Chords Progression Consonance Dissonance Triad Arpeggio NEW CONCEPTS tone note pitch frequency staff interval unison octave major scale pitch range dynamics accent pianissimo pp piano p mezzo piano mp mezzo forte mf forte f fortissimo ff decrescendo diminuendo crescendo timbre rhythm beat meter measure triple meter downbeat duple meter quadruple meter upbeat sextuple quintuple meter septuple meter syncopation tempo largo grave lento adagio andante moderato allegretto allegro vivace presto prestissimo rubato fermata melody legato staccato phrase cadence sequence theme harmony chord chord progression consonance dissonance triad tonic arpeggio OVERVIEW The Prelude to Chapters 1–3 explains to students that they will experience a wide variety of music. Although these various types of music sound quite different, they all involve the same components: sound, rhythm, melody, and harmony. In order to understand how these elements contribute to the music, it is necessary to become familiar with them and how they can be IM 1 | 2 Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-4th-Edition-byCharlton combined. It is also helpful to become familiar with the orchestra and its instruments. The first three chapters will provide the vocabulary and experience students will need. TOPICS FOR DISCUSSION 1. Although this chapter has no specific listening examples, it has ample opportunities for listening examples as illustrations of the elements. It is helpful to have a keyboard handy to play simple melodies, illustrate concepts of tempo and dynamics, and provide examples of chords. Consider incorporating the following pieces set as examples of concepts covered in Chapters 1–3: Purcell, “When I am laid in earth,” from Dido and Aeneas—triple meter Mozart, Symphony No. 40, I—duple meter Handel, “Comfort Ye” from Messiah—quadruple meter Bernstein, “America” from West Side Story—sextuple meter Haydn, String Quartet, op. 33, no. 3, (“The Bird”) IV—dissonance 2. Music is a most difficult art to grasp because it is so abstract. It never entirely exists in the present, but relies on both memory and intuition (or expectation, as Leonard Meyer says in his Emotion and Meaning in Music). The listener needs to be able to remember 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 brief and repetitive with very little thematic development. More complex works—a Mozart string quartet, for example—have distinct themes that go through a period of development. The listener needs to have the skill to recognize something as a theme and then listen as that theme is transformed, manipulated, and recapitulated. 3. Listeners cannot always perceive the beat easily. Students may confuse it with the metric accent. Composers can also manipulate durations to make the music sound as though the beat speeds up or slows down. Simple examples of folk or nursery-rhyme songs can help illustrate: Play “Mary Had a Little Lamb” in common time and in cut time, or play the tune using quarter-note durations and then half notes, keeping the beat the same. 4. Students need to think of melody as linear. But melody also takes on contour because of its changes of pitch. Help students understand this by playing the opening phrase of “Joy to the World,” which descends stepwise, and then comparing that with “Twinkle, Twinkle, Little Star,” which has repeated pitches, leaps, and downward steps. 5. Students are often confused by melodic contour, perceiving legato melodies as conjunct and staccato passages as disjunct. Be sure to emphasize that melodic contour refers to the placement of pitches within a melody, and not to the way that melody is performed. IM 1 | 3 Full file at http://testbankwizard.eu/Solution-Manual-for-Experience-Music-4th-Edition-byCharlton 5. Probably the best way to illustrate harmony is to use the blues progression as an example of how chords provide a framework over which a melody is constructed. Chords can contribute to rhythm, too, by how often and regularly they change. FURTHER QUESTIONS AND TOPICS 1. What do the terms piano and forte mean? How does the composer indicate dynamics between and beyond these two levels? 2. What are the components of rhythm? How does beat differ from meter? How do beat and meter differ from note values (duration)? 3. How does a listener recognize the end of a melodic phrase? 4. What is an arpeggio? How does it relate to a chord? 5. Can you draw a picture of a melody? What are some interesting melodies that you know? Suggest: Draw a picture of a melody you know. What makes it interesting to you? What materials would you use in order to recreate that melody? Are the pitches all connected, as if on a string? Or are they individual points? IM 1 | 4