Terminology

Question 1

When writing about ryhthm and metre think about commenting on…. (9 items)

Answer 1

Question 2

Other harmonic devices you may have to describe include: (other than describing the chord - mentioned in another question)

Answer 2

Cadences (perfect, imperfect/Phrygian, ,plagal, interrupted)

Tonic or dominant pedals (specify which, and mention if the pedal is inverted)

Circle of 5ths

Tierce de Picardie

Question 3

You should be prepared to comment on the presence of particular types of dissonance - including:

Answer 3

Question 4

Texture - This term apples to the way parts are combined to sound together, and also the number of parts involved. The number of parts will affect the density of the sound. Types of texture include:

Answer 4

Polyphonic, Contrapuntal, Homophony, Hetrophony, Antipothy.

Question 5

SPECIAL WARNING - It is not enough at this level to describe a texture as ‘thick’ or ‘thin’. You should aim wherever possible, to state …..

Answer 5

The numver of parts, as well as the type of texture involved.

Question 6

Monophonic means

Answer 6

A single (unaccompanied) melody.

Question 7

Polyphonic means

Answer 7

This term tends to be used as another way of saying contrapuntal – the combination of independently moving melody lines. It is generally beter to reserve its use for early music, especially choral music of the Renaissance era.

Question 8

What does Contrapuntal mean? (give definitions of different contrapuntal writing too)

Answer 8

See definition of Polyphonic (This term tends to be used as another way of saying contrapuntal – the combination of independently moving melody lines. It is generally beter to reserve its use for early music, especially choral music of the Renaissance era. )

Contrapuntal - This term is freely applied in discussions of music from any period. The combination of independently moving lines may be:

Free - When there is no melodic similarity between the parts

Imitative - When another part enters with the same theme while the first continues with its own music

Canonic - a strict form of imitation, when the second part is near enough an exact copy of the first, even if at a different pitch.

Fugal - as in a fugue or fugato.

Question 9

Imitative writing is a form of contrapuntal writing - When another part enters with the same theme while the first continues with its own music

Do not confuse imitiative with…

Answer 9

repetition, antiphony or call-and-response’

Question 10

Canonic writing is a form of Contrapuntal writing - a strict form of imitiatio, when the second part is near enough an exact copy of the first, even if at a different pitch.

If the passage is canonic, say whether the canon is is ….

Answer 10

at the octave, at the unison (the same pitch), at the 4th below, and so on. State, also, the length between the imitatio - for example, 2 beats, 1 bar.

Question 11

Fugal writing is a form of Contrapuntal writing - Fugal - as in a fugue or fugato.

Make sure you can apply fugal terms such as…

Answer 11

subject, answer, conter-subject, stretto, middle entry, codetta and so on.

Question 12

What is Homophony?

Answer 12

(texture)

Chordal textures, sometimes also described as homorhythmic: all parts having the same rhythm.

Melody-dominated homphony: textures in which the melody is supported by a rhythmically independant part - for example, Alberti bass or broken-chord patterns. You may prefer to use the expression ‘ melody and accompaniment’

Question 13

In movements which are rarely anthing other than homphonic, don’t forget to mention…

Answer 13

transfers of the melody from treble to bass, changes in accompanying patters, and the numbers of parts (the density) used at any one time.

Question 14

What is hetrophony

Answer 14

(texture)

When a melody line is heard along with a thythmically different or melodically varied version of itself.

Question 15

What is Antiphony?

Answer 15

(texture)

When passages of music are performed by different singers and/or instrumentalists in alternation. teh groups do not have to be evenly balanced.

“call-and-response’ also refers to antiphony, particulary in jass and popular music.

Question 16

Aside from Monophonic, Polyphonic, Contrapuntal, Homophony, Hetrophony & Antiphony, what other textural features can be included in answers?

Answer 16

Question 17

‘Performance forces’ simply means…

Answer 17

The voices and instruments used.

Question 18

SPECIAL WARNING

If asked to compare and contrast the performance forces of particular pieces, it may not be enough just to list the names of the instruments involved. You will need to show that you understand…..

Answer 18

the essential differences between the works by commenting further, perhaps referring to historical periods, and issues of authenticity or else the rold played by the instruments in the texture.

Question 19

Timber refers to the nature of the sound produced. Be ready to comment on the use of ….

Answer 19

particular ranges (tessitura) of instruments or voices in so far as this may contribute to the overall sound created. For example, generally low sounds may be used to produce a melancholic mood.

Also be ready to describe the effects of plucking and bowing, use of mutes, harmonics, and different bowing techniquessuch as sul ponicello, sul tasto, or sur la touche.

Question 20

SPECIAL Having identified the structure, avoid describing the details of the movement in question in general terms, in other words without direct refernce to the content of the music. An ‘abstract’ description such as this would perhaps tell you that sonta form had an exposition with a first subject, transition and second subject, but would not…

Answer 20

give details of a key or location.

Question 21

Structure

Once you have indentified the structure in general terms, be ready to give a more detailed description of the main sections in the music eg

Answer 21

giving changes of key and specific descriptive terms (eg first subject, exposition etc.

Question 22

CIRCUMSTANCES OF PERFORMANCE

Questions are frequently asked in the exam about the location of the original performace, the nature of the audience and perhaps the purpose of the music. In the course of your revision, try to establish the dateand place of the first performance whenever possible. Sometimes this will not be possible, especially in the case of earlier music and in these cases make sure that you have a plausible general idea. e.g Dowlands Flow my tears in all probablility would have been performed…

Answer 22

for a select, courtly audienc. In the case fo sacred vocal music, it would not normally be enough to say “in a church”

Question 23

Circumstances of performance

When writing about sacred music, be ready to comment on..

Answer 23

whether the the music is actually approriate for church performance, and if so, the type of church and the place of the particular pieve of music in the service or liturgy.

Question 24

CIRCUMSTANCES OF PERFORMANCE

When writing about jazz or popular music, you may need to differentiate between..

Answer 24

live performances and studio recordings.