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AS MUSIC ALL > Glossary > Flashcards

Glossary Flashcards

1
Q

A cappella

A

A capella singing is for voices alon, unaccompanied by instruments.

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2
Q

Acciaccatura

A

A very short ornamental note played before a principal melodic note, written or printed with note with diagonal line through.

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3
Q

Additive rhythm

A

Where a bar has beats of unequal length, or where unequal short thythmic sets are grouped together to forma a longer rhythmic pattern.

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4
Q

Aeolian mode

A

A scale that uses the following pattern of tones T-s-T-T-s-T-T. When starting on A, it consists of all the qhite notes within one octave on a keyboard.

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5
Q

Alberti Bass

A

A particular type of broken-chord pattern often found in classical keyboard music with three pitches heard in the order low-high-middle-hig, e.g C-G-E-G

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6
Q

Anacrusis

A

Note or notes preceeding the first beat of a piece or phrase.

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7
Q

Angular

A

When applied to melody, the presence of wide leaps

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8
Q

Anticipation

A

A melody note (frequently the tonic of the key in the highest part sounded slightly before the chord to which it belongs, thereby creating a dissonance with the previous chord.

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9
Q

Appogiatura

A

A non-chord note that sounds on the beat as a dissonance and then resolves by step (up or down) to the main chord note. The dissonant note is not ‘prepared’ as a suspension is. Although appoggiaturas are normally approached by leap, accented passing notes that are particularly long and/or prominant are ofen described as appoggiaturas, even though they are approached by step. Sometimes an appoggiaturea, especially in the classical period, is indicated by a note in small type, followed by its resolution printed at normal size.

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10
Q

Aria

A

A song, usually in an opera, oratorio or cantata, for solo voice, with orchestral accompaniment or even more reduced forces, especially in Barowque times when just continuo instruments may be used. An aria often follows a recitative, and affords an opportunity for reflection.

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11
Q

Articulation

A

The manner in which a series of notes are played with regards to their separation or connection - for example, staccato, or legato

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12
Q

Atonal

A

Atonal music avoids keys or modes; that is, no pitch stands out consistently in the way that the tonic does in tonal music.

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13
Q

Augmentation

A

The lengthening of the rhythmic values of a previously-heard melody (eg where crotchet follwed by two quavers becomes minim followed by two crotchets.)

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14
Q

Augmented triad

A

A 3 note chord in which the interval beween successive notes is a major 3rd; for example the chord D-F#=A#

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15
Q

Augmented 6th chord

A

A choromatic chord which in root position spans the interval of an augmented 6th, eg Ab-F#. The chord also includes the major 3rd above the root (and sometimes also the perfect 5th or aumented 4th, known as German and French aumented 6ths, respectively)

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16
Q

Avant-Garde

A

(French for ‘vanguard’) A label applied to composers or compositions considered to depart radically from previously accepted styles of composition.

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17
Q

Backbeat

A

In pop and rock music, syncopated accents on the 2nd and 4th beats of a 4//4 bar.

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18
Q

Ballett

A

A lighter type of madrigal (a form of secular vocal music sultivated in Italy and England in the 16th and early 17th centuries), with fl-la-la refrains and a generally syllabic setting.

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19
Q

Binary Form

A

A structure consisiting of two sections, the first of which closes in a related key and the second in the onic. This structure was frequently used by Baroque composers, eg in dance movements

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20
Q

Bitonal

A

Music that uses two different keys simultaneously

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21
Q

Blue note

A

Typically in jazz or popular music, a note (usually the 3rd, 5th, or 7th degree of a major scale) performed at a slightly lower pitch than normal for expressive effect.

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22
Q

Bridge

A

In jazz and pop music, a short, contrasting passage that connects two longer sections.

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23
Q

Britpop

A

A genre of rock music that developed in Britiain during the 1990s. Strongly influenced by British guitar pop music from the 1960s and 1970s,, important Britpop bands include Oasis and Blur.

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24
Q

Broken chord

A

The performing of the notes of a chord one after another instead of simultaneously.

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25
Q

Cadence

A

A pair of chords signifying the end of a phrase in tonal music. Cadences are of several types, of which perfect and imperfect are by far the most common, See also Imperfect cadence, interrupted candence, Perfect cadence, Plagal cadence and Phrygian cadence.

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26
Q

Cadential 6/4.

A

Chord 1c, precedomg chord V or V7 in a perfect or imperfect cadence.

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27
Q

canon

A

A Strict form of imitation, in which each successive part repeats exactly the music of the first part.

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28
Q

Chordal

A

A form of Homophony in which all teh parts move together in the same of very simular rhythm, The term homorhythmic ( literally ‘same rhythm’) is sometimes used instead.

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29
Q

Circle of 5ths

A

A Harmonic progression in which the roots of the chords move bydecending 5ths ( and/or ascending 4ths) e.g. B-E-A-D-G-C etc.

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30
Q

Coda

A

A concluding section of a movement.

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31
Q

Comping.

A

a term associated with Jazz and popular music referring to the playing or a chordal accompaniment.

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32
Q

Compound time

A

A metre in which the main beat is subdivided into three equal portions, as apposed to two equal portions in simple time.

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33
Q

Concerto

A

Most commonly a concerto is a work for one or more soloists ( notably a pianist or violinist) with orchestra. In more recent times, it has been applied more generally to orchestral works, implying elements of contrast and brilliance.

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34
Q

Conjunct.

A

Melodic movement by stem rather than by leap. Opposite of disjunct.

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35
Q

Continuo.

A

Short for ‘basso continuo’, the continuo instruments form the accompaniment in Baroque music. It may include instruments such as harpsichird (capable of playing full harmony) and a cellor or bassoon reinforcing the bass line.

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36
Q

Contrapuntal

A

Anjective to describe music that used counterpoint

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37
Q

Counterpoint

A

Counterpoint involves two or more melodic lines ( usually rhythmically contrasted), eachsignificant in itself, which are played or sung together at the same time. theterm polyphonic is often used as a synonym for contrapuntal

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38
Q

Diatonic.

A

Using notes that belong to the current key. A diatonic note is one that belongs to teh scale of the key currently in use. for example, in D major the notes D, E and F# are diatonic.

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39
Q

Diminished 5th

A

and interval a semitone lower than a perfect 5th

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40
Q

Diminished 7th chord

A

a four-note chord made up of superimposed minor 3rds.

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41
Q

Diminuation

A

The shortening of the rhythmic values of a previously-heard melody (e.g Minum crotchet crotchet, has become crotchet quaver quaver).

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42
Q

Disjunct

A

Melodic movement by leap rather than step. Opposite of Conjunct.

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43
Q

Dissonance

A

Strictly speaking, any note not belonging to a tria in root position or first inversion (even the 4th above the bass in a second inversion counts as dissonant). Some dissonances, particularly suspensions and appoggiatureas, add tension, which in early music had to be ‘resolved’, others, notably passing and auxiliary notes, provide rhythmic and melodic decoration.

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44
Q

Dominant 7th Chord

A

A foour-note chord built on the dominant (fifth) note of the scale. It includes the dominant triad plus a minor 7th above the root.

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45
Q

Drone

A

A sustained note (or notes frequesntly forming an interval of a fifth) held in one part while other parts play or sing melodies against it.

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46
Q

False relation

A

The occurrence of the ordinary and chromaitcally altered versions of the same note (such as F natural and F#) in two different parts at the same time, or in close proximity.

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47
Q

Fortspinning

A

The spinning out of a melody line typically by repetition, sequence, variation of intervals, inversion etc. The term is frequently applied in analysis of Baroque music.

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48
Q

Fugue

A

A type of piece in which a main theme called a ‘subject’ is treated in imitation by all the parts. ‘Episodes’ are the contrasting sections which depart from this pattern.

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49
Q

Functional harmony

A

A type of harmony that gravitates to the tonic through use of a hierarchy of chords, the dominant being second only to the tonic and cadences.

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50
Q

Gigue

A

A quick, lively Baroque dance commonly in compound time, it was one of the key componenets of a Baroque (dance) suite.

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51
Q

Glissando

A

A slide from on epitch to another

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52
Q

Harmonic Rhythm

A

The rate at which harmony changes in a piece

53
Q

Harmonics

A

A technique of lightly touching the string to produce a high, flute-like sound

54
Q

Hemiola

A

The articulation of two units of triple time (strong-weak-weak, strong-weak-weak) as threww untis of duple time (strong-weak, strong-weak, strong-weak)

55
Q

Hexatonic

A

A scale made up of six notes, wuch as the whole-tone scale and some scales found in folk music

56
Q

hOCKET

A

From the medieval French for ‘hiccup’ this is a compositional technique in which tow or more voices or instruments sing or play in alternatio. IN the original Medieval practice of hocket, a single melody is distributes between two or more voices such that one one sounds while the othe(s) rest and so on in alaternation

57
Q

Idee fixe

A

A term associated originally with Berlioz’s music, signifying a recurring musical motif.

58
Q

Imitation

A

Where a melodic idea in one part is immediately repeated in a nother part (exactly or inexactly), at the same or a different pitch, which the first part continues. Described with theh hadjective imitative.

59
Q

Imperfect cadence

A

An open-ended cadence in which the dominant chord (v) is preceded by any other suitable chord, often I, ii, or IV

60
Q

Impressionism

A

A compositional movement that began in France in the late 19th century and continued into the 20th, and was in some respects similar to the art movement of the same name. Important characteristics of impressionist music include heightenened attention to timbre, colour and atmosphere, non-functional harmony and tonality and fluid metre

61
Q

Interrupted cadence

A

A cadence most frequently consisting of chords V-VI, designed to defeat expectations by avoiding chord I

62
Q

Inversion (harmonic)

A

When a chord has a note other than the root in the lowest part, it is an inversion. In a first-inversion chord the 3rd of the the chord is in the lowest part, and in a second-inversion chord the 5th. For example, a triad of F major in First-inversion is A-C-F, and in second inversion is C-F-A

63
Q

Inversion (Melodic)

A

When a melody line is heard upside down e.g pitched C-E-D are presented as C-A-B.

64
Q

Inverted pedal.

A

A pedal note which is held in a higher part of teh texture, rather than in the bass.

65
Q

Klangfarbenmelodie

A

German for ‘sound colour melody’. A musical technique in which a melodic line is distributed among more than one instrument, thereby producing different timbres depending on which instruments are used.

66
Q

Lied (Plural Lieder)

A

German for ‘song’ bur used in English to refer specifically to 19th Centurey settings of German poetry for an accompanied solo voice.

67
Q

Lombardic Rhythm,

A

A ‘reversed’ dotted rhythm, with the shorter note first, e.g simiquaver-dotted quaver, ther term ‘Scotch snap’ is sometimes used to describe this effect.

68
Q

Madrigal

A

A form of vocal composition popular in Italy and England in teh 16th and 17th centuries. Usually setting secular ( i.e non religious ) texts, it most usually waws written for between three and six parts, and could be a capella or accompanied

69
Q

Melismatic

A

the settting of several nites to one syllable

70
Q

Melody-dominated homophony

A

A melody and accompaniment texture in which teh accompaniment is not strictly chordal.

71
Q

Metre

A

The metre refers to the pulse of the misic and is indicated by the time signature

72
Q

Minimalism

A

A 20th -21th Century often deliberately simple style of composing based on repetitions of short melodic and rhythmic patterns. it was developed by American composers such as Steve Reich, Philip Glass and terry Riley

73
Q

Mixolydian mode

A

A scale that uses the following pattern of tones (T) and semitones (s):

T-T-s-T-T-s-T. When starting on G, it consists of all the white notes within one octave on a keymoard

74
Q

Modal

A

A term often used to refer to music based on a mode rather than on a major or minor key.

75
Q

Modulation

A

A change of key, orthe process of changing key.

76
Q

Monophony

A

Music consisting only of a single melodic line, Also described with teh adjective ‘monophonic’

77
Q

Monothematic

A

Music which is based on one there throughout.

78
Q

Motet

A

A Type of church misic for choir, sometimes accompanied by organ, and occasionally by larger forces. A motet often has Latin words ( commonly from the bible) and is particularly but not exclusively associated with Roman Catholic services. Motets were often composed for specific occasions, unlike the Ordinary of the Mass.

79
Q

Motif

A

A short but distinctive musical ideal that is developed in various ways in order to create a longer passage of music, the adjective is ‘motivic’.

80
Q

Neopolitan 6th Chord

A

A Chromatic chord (often in a minor key) consisting of the first inversion of the major chord formed on the flattened super tonic, i.e the second degree of the scale (in D minor, for example, the neopolitan 6th has the notes G-Bb-Eb).

81
Q

Neoclassical

A

in music the adjective ‘neoclassical’ is most widely applied to a certain early and mid 20th century styles that combine a clear debt to previoes eras (notably the Baroque and the Classical ) with more up-to-date elements.

82
Q

Opera

A

A large-scale dramatic work for singers and instrumentalists in which teh whole text is sung

83
Q

Ostinato

A

A repeating melodic, harmonic or rhythmic motif, heard continuously throughout part or the whole of a piece.

84
Q

Parallelism

A

Aslo known as parallel harmony, this is the parallel movement of two or melodic lines or chords.

85
Q

Passing Note

A

a non-harmony note approached and quitted by step in the same direction, often filling in a melodic gap of a 3rd (e.g A between G and B, where both G and B are harmony notes).

86
Q

Pavan

A

Sloooowww, a quadruple-time dance of teh renaissance era, usually consiting if three repeated sections (AA,BB,CC).

87
Q

Pedal ( note)

A

A sustained or repeated note, usually in a low registerm over which changing harmonies occur. A pedal on the fith note of the scale ( a dominant pedal)tends to create a sense of expectation in advance of a perfect cadence; a pedal on the keynote (a tonic pedal)can create a feeling of repose.

88
Q

Pentatonic

A

A scale made up of five notes, most frequently the first, second, third, fith and sixth degree of a major scale ( for example, C pentatonic is C-D-E-G-A).

89
Q

Perfect cadance

A

A cadence consisiting of the dominant Chord (V or V7)) followed by the tonic (I)

90
Q

Periodic phrasing

A

In Classical-period music particularly where phrases of regular length are heard in balanced structures, the expression ‘antecedent and consequent’ is sometimes applied to these phrases.

91
Q

Phrygian candence

A

A type of imperfect cadence, in which the dominant chord (V) is preceded by the first inversion of the subdominant (IVb). it is used chiefly in minor keys, and particularly in Baroque music.

92
Q

Plagal cadence

A

A Cadence consisting of the subdominant chord followed by the tonic (IV-I).

93
Q

Pointillism

A

Originally referring to a painting technique, in which small dots or colour are carefully placed to create a larger image, this refers to a musical effect in which different notes are played or sung in isolation from each other rather than as part of a musical line, therby sketching out a larger musical form.

94
Q

Polyphony

A

sometimes used as an alternative term for counterpoint especially in renaissance music

95
Q

Polyrhythm

A

the use of more than one rhythm at the same time, often implying the presence of different metres.

96
Q

Portamento

A

A slide between two notes.

97
Q

Postmodernism

A

A Style of composition that deliberately contrasts itself with modernist concepts, and teh highly intellectual approach (typified by serialism) associated with them. Post-modernism tries to avoid categorising music rigidly, and often incorporates fragments of work and references to other cultures in a more approachable style.

98
Q

Prime order

A

in serialism, the original order in which the notes of a tone-row are played.

99
Q
A
100
Q

Programmatic

A

Music with a stimulus that comes from outside the music itself

101
Q

Reggae

A

A genre of popular music originating in Jamaica and Jamaican communities, with a distinctive rhythmic style characterised by off-beat accents.

102
Q

Retrograde

A

The pitches of a previously heard melody or rhythm presented in reverse order

103
Q

riff

A

in popular music styles, a hort repeating phrase

104
Q

Ritornello form

A

A structure used in Baroque music in which an opening instrumental section (called the ritornello)introduces the main musical ideas. This returns, often in shortened versions and in realated keys, between passages for one or more soloists. The complete ritornello (or a substantial part of it) returns in the tonic key at the end. The term ‘ritornelle’, used at the end of ‘~When I am laid in earh’ from Purcell’s Diso and Aeneas, refers simply to an instrumenatal passage as opposed to one which is vocal.

105
Q

Rocakabilly

A

An early form of rock ‘n’ roll, which takes its name from ‘rock’ and ‘hillbilly’ (a term for inhabitants of rural regions of the USA, referring to the country music that influenced rocakabilly). I t developed in the 1950s before waining in popularity in the 1960s, but was later revived in the late 1970s

106
Q

Rocksteady

A

An early form of reggae, emerging in the late 1960s

107
Q

Rondo

A

A form in which the main theme (or subject) returns periodically in the tonic key. Simple Rondo takes the form A-B-A-C-A erc, which Sonate rondo involves recapitulation of a second subject as well as the first: A-B(related key)-A-C(delvelopment)-A-B(tonic)-A. This form came to be used frequently in finales.

108
Q

Root position

A

A chord which has the root in the lowest sounding part

109
Q

Rounded binary form

A

A variation of simple binary form (AB) in which a thematic reference to the beginning of the moment is made at the end of the B section.

110
Q

Rubato

A

The variation of pulse by subtle lengthening of notes, so producing a free rhythmic feel

111
Q

Salterello

A

A lively dance in 6/8 which originated from Naples in the 13th century

112
Q

Sarabande

A

In its most common form during the Baroque period, a slow dance in 3/4, often with an emphasis on the second beat.

113
Q

Scat

A

In jazz, the singing of ‘ nonsense’ sounds in place of words.

114
Q

Scotch Snap

A

same as Lombardic Rhythm - A reversed dotted rhythm, with the shorter note first, eg semiquaver-dotted quaver.

115
Q

Sequence

A

Immediate repetition of a melodic or harmonic idea at a different pitch

116
Q

Serial

A

In serial music all (or most) pitches are derived from an underlying fixed series of pitches that can be manipulated by transposition, inversion and retrograding (being played backwards) A widely practised form of serialism in the mid 20th century used a series (or ‘row’) of twelve notes that included every note of the chromatic scale once.

117
Q

Simple time

A

A metre in which the main beat is sb-divided into two equal portions. Opposite of Compound time

118
Q

Sonata form

A

Typical first movement form of the Classical and Romantic periods. In three ssections- exposition, development, recapitulation - often based on two groups of melodic material in tow contrasting keys (first subject, second subject)

119
Q

Soul

A

A genre that originated in the USA, combinin aspects of gospel music and rhythm ‘n’ blues

120
Q

Sprechgesang

A

Associated particularly with composers of the second Viannese school. a form of speech-song in which notes are not necessarily accurately pitched.

121
Q

Stop time

A

In jazz and blues, a rhythmic accompaniment pattern which interrupts, or ‘stops’ the regular beat by introducing silent beats.

122
Q

Stretto

A

The overlapping of imitative entries more closely than had previously occurred, used especially in connection with fugal writing

123
Q

Stride

A

A jazz piano style partly derived from ragtime, in particular from the characteristic left-hand pattern which repeatedly ‘stides’ from a low note or chord on a strong beat to an often much higher chord on a weak beat. Stride piano was especially popular in 1920s

124
Q

Strophic

A

A strophic song is one in which each stanza has the same (or very similar) music.

125
Q

Substitution chord

A

A chord that is substituted for another chord, for the sake of variety. In particular the term is used in jazz

126
Q

Suspension

A

A suspension occurs at a change of chord, when one part hangs on to (or repeats) a note from the old chord, creating a clash, after which the delayed part resolves by step (usually down) to a note of the new chord.

127
Q

Swung rhythm

A

In jazz and other popular music, a certain freedom in performance wherby rhythms that might in other contexts be played ‘straight’ as equal notes are performed with the first of each pair longer than the second, often giving a kid of triplet effect.

128
Q

Syllabic

A

The setting of one note to one syllable

129
Q
A

AS MUSIC ALL (12 decks)

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