Exam 1 (Ch 1-6) Flashcards Preview

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Flashcards in Exam 1 (Ch 1-6) Deck (53)
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1
Q

The basic property of all music

A

Sound

2
Q

HIP (human intention and perception approach) emphasizes,

A

inclusiveness over exclusiveness, and that is music is inseparable from the people who make it and experience it

3
Q

the term “music”

A

is inescapably ethnocentric to some degree and is inescapably tied to Western culture and its assumptions

4
Q

Qur’anic recitation:

A

is not music from orthodox Muslim perspectives, but does exhibit qualities (e.g., melodic, rhythmic) that make it sound musical to non-Muslims

5
Q

The best way to figure out if something is or is not music is to:

A

determine whether there are people who intended it to be music or who perceive it as music

6
Q

a group of persons regarded as forming a single community of related interdependent individuals

A

society

7
Q

when royal churches support musicians or musical institutions

A

patraonage

8
Q

people who share a sense of homeland but do not have any political autonomy over that homeland

A

nation-state

9
Q

special events during which individuals or communities enact their core beliefs, values, and ideals through performance

A

rituals

10
Q

a people defined by shared identification with a “homeland” where they themselves do not reside

A

diaspora

11
Q

Ehtnomusicologists are interested in understanding music as:

A

a musicultural phenomenon

12
Q

the process by which music moves from one person or community to another

A

transmission

13
Q

to compose in the moment of performance

A

improvisation

14
Q

planning the design of a musical work prior to its performance

A

composititon

15
Q

The complex whole which includes knowledge, belief, art, law, morals, custom, and any other capabilities and habits acquired by man as a member of society

A

culture

16
Q

draws on musicology, anthropology, and other disciplines in order to study the worlds musics

A

ehthnomusicology

17
Q

rhythm is closely related to

A

duration

18
Q

the underlying pulse of music

A

beat

19
Q

defined by the number of beats per measure

A

meter

20
Q

when meters are longer and more complex, we use the term:

A

metric cycle

21
Q

the rate at which beats pass in music

A

tempo

22
Q

When music is nonmetric it is called:

A

free rhythym

23
Q

The process of creative transformation whose most remarkable feature is the continuity it nurtures and sustains

A

tradition

24
Q

the ways in which people think about and represent themselves and one another through music

A

identity

25
Q

pitch

A

the highness and lowness of musical tones, related to frequency

26
Q

soundwaves

A

vibrations that result in musical sound

27
Q

melodic range

A

the distance in pitch from the lowest to the highest note

28
Q

melodic direction

A

the upward/downward movement of the melody as it progresses

29
Q

melodic contour

A

overall shape of the melody

30
Q

chromatic scale

A

all 12 pitches in order

31
Q

determinate pitch

A

instruments that can be identified with pitch names

ex: violin, piano, trumpet, flute, xylophone

32
Q

indeterminate pitch

A

instruments that have no clear pitch

ex: cymbals, triangles, drums

33
Q

uses 4 original (now 5) categories to classify instruments

A

Hornbostel-Sachs system (1914)

34
Q

String is producing the sound, vibrating over a resonating chamber
ex: Violin, sitar

A

Chordophones

35
Q

produces sound by air passing through some kind of resonator

ex: flutes, organs, human voice

A

Aerophones

36
Q

where vibration of membrane stretched across a frame resonator produces the sound
ex: drums, kazoo

A

Membranophones

37
Q

instruments where the vibration of the body produces the sound
ex: maracas, thumb piano, glass armonica (ben franklin thing)

A

Idiophones

38
Q

pure electronic instruments, must be categorized as sound generators and sound modifiers
ex: synthesizer
Hybrids: electric guitars, etc

A

electronophones

39
Q

texture

A

describes the kinds of relationships that emerge and evolve between characters

40
Q

form

A

the element of music that pertains to large scale dimensions of music organizations

41
Q

single line texture

A

the simplest, aka monophonic textures. One layer. Multiple people could be playing but it would have to be the same pitches and rhythms one sound

42
Q

polyphonic texture

A

two or more distinct parts

43
Q

drone

A

accompanying a melody is a common and simple type of polyphonic texture

44
Q

harmonized texture

A

when notes of different pitches occur together to form chords or harmonies

45
Q

multiple melody texture

A

occurs in polyphonic music that features two or more essentially separate melodic lines being performed simultaneously

46
Q

polyrythym

A

several layers, different rhythms (no melodies involved), often just percussion instruments

47
Q

when musical melodies and rhythmic lines are stacked upon each other, a single melody may be divided by two or more instruments

A

interlocking parts

48
Q

how music is laid out from beginning to end, how the music unfolds and develops as it progresses

A

form

49
Q

when there is no repetition and the music has a lack of distinction

A

through composed

50
Q

element of repetiton

A

hook

51
Q

when the repetition slightly changes

A

varied repetition

52
Q

a short figure repeated multiple times. the smallest form of organization for music

A

ostinato

53
Q

similar to ostinato, but the repeated cycle is longer than an ostinato

A

cyclic form