Music Appreciation Chapter 1 Review

Question 1

Melody:

Answer 1

A melody is a succession of single tones or pitches.

Question 2

Melody

Answer 2

A succession of single pitches or tones perceived as a meaningful unity.
scales, and tone rows to name a few. Melodies in contrasting styles can be described by such
characteristics as contour, range, and motion.

Question 3

Contour

Answer 3

The contour of a melody contributes largely to the emotional effect
Ascending melodies can
portray soaring, uplifting feelings, while melodies with a wave-like contour may be
contemplative or relaxing.
Descending melodies produce the effect of decreasing energy and may
be used for a smooth landing.

Question 4

Range

Answer 4

The range of a melody is the span between lowest and highest note

Melodies with a narrow range
may be more serene or smooth and are certainly easier to perform for amateur musicians.

Melodies with a wide range can be exciting, impressive, and may require virtuosic performance
ability for instrumentalists and singers.

Question 5

Conjunct Movement:

Answer 5

A smooth, connected melody that moves principally by small intervals.
Conjunct movement describes melodies that move in steps, from pitch to nearby pitch.

Question 6

Disjunct movement:

Answer 6

A disjointed or disconnected melody with many leaps.
Disjunct movement is melodic motion by large, disjointed intervals, or leaps, and may be very
dramatic and exciting

Question 7

Cadence:

Answer 7

A resting place in a musical phrase.
Melodies are typically meaningful: they speak from the composer or performer to the listener.

Question 8

Phrase:

Answer 8

A unit of meaning within a larger structure, like a musical sentence.

Question 9

Rhyme scheme

Answer 9

Poetic phrases and musical phrases generally align.
When lyrics are present, there is a natural alignment of melodic phrase and rhyme scheme

Question 10

Countermelody:

Answer 10

An added melody sounding against another melody.
Countermelody is an added melody that can be secondary in importance to main
melody,

or it can be of equal importance to another melody.
or it can be of equal importance to another melody.

Question 11

Rhythm:

Answer 11

Length, or duration of individual notes.

Question 12

Beat:

Answer 12

Regular pulsation

Question 13

Accent

Answer 13

Beats that are stronger.

Question 14

Rhythm

Answer 14

Rhythm is the movement of music in time and propels
music forward―

Question 15

Metrical Patterns:

Answer 15

Simple recurring patterns, typically 2, 3, or 4 beats grouped in a measure.
Metrical patterns are established by regularly recurring patterns of beats.

Question 16

Simple Meter

Answer 16

Musical compositions that present regularly recurring patterns of beats can be classified as duple,
triple, or quadruple meter.

Question 17

duple

Answer 17

meter consists of two beats per measure;

Question 18

triple

Answer 18

meter, three beats per measure;

Question 19

quadruple

Answer 19

meter, four beats per measure. Naturally,
there exist other possibilities for rhythmic organization

Question 20

Rhythm and Meter:

Answer 20

We speak of duple, triple, and quadruple meter when describing specific rhythms. Meters can be
defined as organized groups of beats.

Question 21

Musical Time

Answer 21

Compound meter is the rhythm category that contrasts with simple meter. It is in the division of
the beat where simple and compound differ simple meters have two divisions per beat,
compound meter has three divisions per beat.

Strong-weak-weak, Strong-weak-weak beat

Question 21

Syncopation:

Answer 21

Deliberate disruption of pattern; accent shifted to a weak beat or offbeat.
Syncopation is a deliberate disruption of regular patterns where the accent is shifted to a weak
beat or to a place in between beats―known as an offbeat.

Question 22

Polyrhythm:

Answer 22

Simultaneous use of different rhythmic patterns.

example of polyrhythm―a technique where contrasting rhythmic patterns occur simultaneously.

Question 23

Additive Meter

Answer 23

: Irregular grouping of beats in a larger pattern.
Interesting rhythms can be built by adding up irregular beat groupings to create a larger pattern,

Question 24

Nonmetric:

Answer 24

Music without a strong sense of beat or meter

Question 25

Interval

Answer 25

distance between two notes Harmony is considered musical space in the sense that it has depth or dimension created by multiple tones sounding simultaneously.

Question 26

Scale:

Answer 26

A collection of pitches arranged in ascending or descending order. Scales are pitch collections arranged in ascending or descending order and often sung in music

Question 27

octave

Answer 27

is an important building block in music due to its consonant sound and mathematical relationship. In many cases, harmonies are created by combining notes from the scale into a “vertical sonority.”

Question 28

Triad:

Answer 28

Three-note chord, do-mi-sol or 1-3-5 Triads are one of the most common harmonic structures in Western music. When harmony is created by the motion of one chord to another, we call this movement a progression or chord progression.

Question 29

Tonic

Answer 29

note is the first note of a scale, for example, “C” is the tonic of the C scale―and this note serves as a home base for all the other notes of the scale

Question 30

Tonality

Answer 30

is the resulting phenomenon when music is organized around a tonic note; this can be major tonality or minor tonality depending on the source scale. Most listeners agree that major tonality presents a brighter sound, while minor tonality is perceived as darker or more emotional

Question 31

Dissonance

Answer 31

is defined as discordant combinations of tones, creating unstable sounds that need resolution.

Question 32

Consonance

Answer 32

is defined as having concordant, agreeable combinations of tones. Consonant music typically is associated with resolution, relaxation, and fulfillment of expected tonal goals

Question 33

drone

Answer 33

is a single sustained note that serves as a simple underpinning of sound, which can be accompanied by rhythm and melody

Question 34

The Formation of Major and Minor Scales

Answer 34

On a keyboard the scale is made of the white and black keys in the octave. Two half steps make one whole step.

Question 35

White Keys: C D E F G A B C

Answer 35

On the keyboard, white keys are pitches C D E F G A B C. The black keys are in between the white keys. Going up a scale, black keys are called sharp (#); going down a scale, black keys are called flat (b).

Question 36

The Major Scale

Answer 36

A major scale can be sung using the syllables do-re-mi-fa-sol-la-ti-do. The white keys on a piano,

Question 37

Major Scales Pattern

Answer 37

All major scales follow the same pattern of whole and half steps: w w h, w w w h This collection of pitches creates a sense of gravity toward do.

Question 38

The Minor Scale

Answer 38

The minor scale differs from the major mode in mood, coloring, and mode.

Question 39

Chromaticism

Answer 39

The seven pitches contained in a major or minor scale are called diatonic tones―meaning they are part of the key.

Question 40

Aspects of the Major-Minor System

Answer 40

Music created from the major-minor system is called diatonic music and can have some important general characteristics.

Question 41

The Key as a Form-Building Element

Answer 41

Often composers build form by setting a work in a new key, or by temporarily shifting the tonal center.

Question 42

The Key as a Form-Building Element

Answer 42

The key is often used as a form-building element, for example, highlighting aspects of a key provides musical unity.

Question 43

Monophony:

Answer 43

Single-line texture, or melody without accompaniment.

Question 44

Heterophony:

Answer 44

Texture in which two or more voices (or parts) elaborate the same melody simultaneously Heterophony is a texture often found in folk music, jazz, gospel, and music outside of the Western culture,

Question 45

Polyphony:

Answer 45

Two or more melodic lines combined into a multi-voiced texture. Polyphony literally means “many-voiced” texture. In polyphony, two or more melodic lines of equal interest are combined. Two types of polyphony are: non-imitative and imitative:

Question 46

Non-imitative polyphony

Answer 46

is the combination of two or more distinctly different melodic lines

Question 47

mitative polyphony,

Answer 47

a melodic idea is presented in one voice then restated in the others in succession

Question 48

Homophony:

Answer 48

Texture with principal melody and accompanying harmony. Homophony has a single melodic line that naturally draws your attention. All of the other parts provide accompaniment or simply a background of harmony. S

Question 49

Contrapuntal Devices

Answer 49

When the imitation is strict and lasts for an entire work, this is called a canon. One common type of canon is a round. In a round, each voice enters in succession with the same melody, which may then be repeated endlessly.

Question 50

Form.

Answer 50

refers to the structure or shape of a musical work. Musical form may be determined by taking notice of the instances of repeating or contrasting sections within a movement.

Question 51

improvisation,

Answer 51

pieces are created spontaneously in performance. The performers rely on the three main principles of form (repetition, contrast, and variation

Question 52

Variation

Answer 52

is another principle of form (in addition to repetition and contrast) where some aspects of the music are altered but the original is still recognizable. In improvisation, pieces are created spontaneously in performance. The performers rely on the three main principles of form (repetition, contrast, and variation)

Question 53

Two-Part and Three-Part Form

Answer 53

Two-part and three-part forms are important structural patterns found in music. Two-part form, known as binary form,

Question 54

Theme:

Answer 54

A melodic idea used as a building block in music. A theme is a melodic idea that is used in the construction of a larger musical work

Question 55

ternary form,

Answer 55

is based upon a statement, a contrasting departure, and then a return to the original statement, labeled A-B-A.

Question 56

Thematic Development

Answer 56

is the expansion of a theme by varying its rhythm, outline, or harmony. This

Question 57

Thematic transformation

Answer 57

occurs when these same aspects of a theme are altered in such a way that although the theme is recognizable, the character is completely different.

Question 58

sequence

Answer 58

When a musical idea is restated at a higher or lower pitch level, the restatement is called a sequence

Question 59

motive

Answer 59

is the smallest fragment of a theme that forms a melodic unit. Motives may be repeated in sequence (i.e., at higher or lower pitch levels after their original statement)

Question 60

call-and response

Answer 60

which is based on the principle of repetition. It is also known as responsorial music

Question 61

Ostinato

Answer 61

is another widely used structural procedure. It is a short musical pattern―either melodic, rhythmic, or harmonic―that is repeated throughout a work, or at least a large section of the composition

Question 62

Tempo

Answer 62

is the rate of speed or pace of music. The tempo of a piece conveys its character:

Question 63

Allegro

Answer 63

means fast or cheerful

Question 64

Moderato

Answer 64

is a moderate tempo―not too quickly, not too slowly

Question 65

; Adagio

Answer 65

; Adagio is very slow

Question 66

accelerando

Answer 66

(beats get faster and faster), which generates excitement;

Question 67

ritardando

Answer 67

(getting slower), which often leads to a pause in the action.

Question 68

Dynamics

Answer 68

refer to the volume of a sound or a note in music. They are effective in shaping the character of music because the degree of volume has a direct effect on our emotional response to a piece of music.

Question 69

forte

Answer 69

loud

Question 70

mezzo forte

Answer 70

mezzo forte (moderately loud)

Question 71

mezzo piano

Answer 71

(moderately soft).

Question 72

crescendo

Answer 72

is indicated by a symbol placed directly under the musical staff that resembles the shape of the sound.

Question 73

decrescendo or diminuendo

Answer 73

(growing softer) that shows a graph of the sound going from large to small. The musician will begin at a louder volume and gradually decrease to a softer volume.

Question 74

metronome

Answer 74

is a device to measure exact number of beats per minute. It helps a performer maintain a steady beat and is usually used during rehearsal rather than performance.

Question 75

interpret

Answer 75

a musical work in this regard.

Question 76

Rubato

Answer 76

literally “robbed time” ―is expressive technique performers use to speed up and slow down, enhancing the emotional impact of the performance.

Question 77

timbre .

Answer 77

tone color. The factors that determine the timbre or tone color include size, shape, material from which it is made and the manner in which sound is produced. A musician’s physique and approach to an instrument will also affect the timbre. As a result, no two musicians will sound exactly alike―even performing the same piece on an identical instrument.

Question 78

The Voice as a Model for Instrumental Sound

Answer 78

soprano, mezzo soprano, and alto (which is short for contralto) are the most common voice designations for women. For men, they are tenor, baritone, and bass.

Question 79

Aerophones

Answer 79

which produce sound through the use of air

Question 80

Chordophones

Answer 80

which produce sound from a vibrating string stretched between two points that is set into motion by plucking, bowing, or striking

Question 81

Idiophones

Answer 81

which produce sound from the substance of the instrument itself by striking, rubbing, shaking, or scraping

Question 82

Membranophones

Answer 82

which produce sound from tightly stretched membranes set into motion by striking, rubbing, plucking, or singing into it.

Question 83

Western Musical Instruments

Answer 83

strings, woodwind, brass, and percussion. The string family, which is all chordophones, consists of two categories of instruments: bowed and plucked. The bowed string family includes: the violin, the viola, the violoncello (also known as the cello), and the double bass. They are often called the “Heart of the Orchestra”

Question 84

Special Effects of the Bowed String Family

Answer 84

The most common style of playing is the legato style, which is when the notes are smoothly connected. A short and detached style of playing is called staccato. Other effects include pizzicato where the player tucks the bow under his hand and plucks the strings, double- triple- or quadruple-stopping, which is the playing of two, three, or four strings together

Question 85

Plucked String Instruments

Answer 85

Two very popular plucked string instruments are the harp and the guitar. The harp is one of the oldest musical instruments.

Question 86

Woodwind Instruments (Aerophones)

Answer 86

aerophones and were formerly made of wood The flute is the earliest known musical instrument

Question 87

Brass Instruments (Aerophones)

Answer 87

The primary instruments of the brass family (also aerophones) are the trumpet, French horn (or horn), trombone, and tuba. The sound is produced by buzzing into a cone-shaped mouthpiece attached to a length of tubing that flares out at the end into a bell. Trumpets and horns were first made from animal horns or tusks and used mainly for religious ceremonies and for military signals