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Full file at http://testbank360.eu/solution-manual-experience-music-4th-edition-charlton CHAPTER 2: Elements That Structure Music: Key, Texture, and Form CHAPTER OUTLINE Key Tonality Scale Major Minor Chromatic Key Signature Modulation Texture Monophony Polyphony Counterpoint Imitation Round Canon Homophony Form Repetition Contrast Variation Theme and variations Ternary Form Binary Form NEW CONCEPTS tonality key minor scale key signature chromatic scale modulation texture monophony polyphony homophony counterpoint imitation round canon form repetition contrast variation IM 2 | 1 theme and variations ternary form binary form Full file at http://testbank360.eu/solution-manual-experience-music-4th-edition-charlton LISTENING GUIDES Consider incorporating the following pieces as examples of concepts covered in Chapter 2: Anonymous, “Dies Irae”—monophonic texture Josquin, Ave Maria—imitative polyphony Billings, “When Jesus Wept”—round Beach, “Ah, Love, but a Day”—homophonic texture Farmer, “Fair Phyllis”—combination of textures OVERVIEW OF CHAPTER 2 The elements studied in Chapter 1 interact to create structure. Chapter 2 begins by explaining the concept of tonality. It also explores how composers combine melodies to create denser textures. The chapter investigates how harmony and melody combine to create the concept of key or tonal center. It concludes with the organization of musical ideas into forms. TOPICS FOR DISCUSSION 1. Spend some time exploring the idea of tonality. The major and minor scales depend on more than certain patterns of whole and half steps. They establish a hierarchy of pitches, some of which are more important than others. The keynote (tonic) is one pole and the dominant (fifth scale degree) is the other. All the other pitches gravitate toward one or other of these two pitches. A composer’s understanding of this polarity helps him or her create moments of tension and resolution. You can demonstrate this by playing a simple melody such as “Twinkle, Twinkle, Little Star” or “Mary Had a Little Lamb” and ending on a wrong note. What makes the “other” note seem wrong (especially if it is a note from the scale)? 2. Texture is one of the most foreign concepts to students accustomed to listening to popular vocal music. Challenge the students to identify the different types of texture in various styles of music: both instrumental and vocal, both popular and composed for the concert stage. Since students are still becoming accustomed to the textbook and ancillaries, be sure to refer them to the “Texture Lab” activity as a means of reinforcing the usefulness of these materials. 3. As students listen to longer and more complex works, they need to become more attentive to signals that composers provide to indicate important events in the music. Sudden dynamic changes, held notes (a slowing of the rhythm), repeated notes, changes in instrumentation, or changes of register are techniques that IM 2 | 2 Full file at http://testbank360.eu/solution-manual-experience-music-4th-edition-charlton composers have at their disposal to map out formal designs. Choose a piece to listen to together, in class, in order to raise their bar of perception; they will be amazed how much there is to listen for! FURTHER QUESTIONS AND TOPICS 1. How can the term voice be used in reference to an instrumental layer in musical texture? Does it actually make it easier to think of pitch registers this way? 2. Can a piece of music not modulate at all? Explore the different nuances of the term: a local example within a simple melody, or a large-scale form. Remind students that many local modulations can occur even within a section in a given key area. Keep them focused on the big picture when listening for form. 3. Some additional listening examples to illustrate formal plans are: The Flintstones theme—ternary (AA´BA) form Mozart, Variations on Ah, vous dirai-je, maman—theme and variations “Greensleeves”—binary (AB) form IM 2 | 3