Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off
Reading...
Front

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key

image

Play button

image

Play button

image

Progress

1/46

Click to flip

46 Cards in this Set

  • Front
  • Back
Genre
The class/type/category of music (ie. opera, chanson, suite)
Shape
The surface contour of the piece, depends on action and interaction of the qualities of tension and relaxation.
INFLUENCED BY:
Rise and fall of melodic lines, rhythmic activity, dynamics, texture, Instrumentation, Consonance and Dissonance, harmonic rhythm (rate of chord change)
Form
Two forms Design and Tonal Structure
Design: organization of elements of music called melody, rhythm, cadences, timbre, texture, and tempo.

TONAL STRUCTURE: Harmonic organization
Phrase
The shortest passage of music which , having reached a point of relative repose (cadence) has expressed a more or less complete musical thought.
Basic Fifth Relationship
If the roots are a fifth apart, the cadence is stronger.
PAC
Position of Root in final tonic - if the phrase concludes with a tonic chord, it will be stronger if the root rather than the third or the fifth, appears in the uppermost voice of this chord.
caesuras
light break in the flow of music
elided cadence
creates smooth effect - cadence of one phrase to occur simultaneously with the beginning of the next.
conclusive cadence
Exert enough conviction or finality to bring a composition to a satisfactory close (vary in strength).
Authentic Cadence
A Cadence consisting of a dominant chord followed by a tonic chord (V–I), normally both in root position
Half Cadence
Ends on Dominant (V)
Plagal Cadence
A subdominant chord followed by a tonic chord (IV–I), normally both in root position.
Link
the stuff between phrases
Full Cadence
when the AC is enlarged by a prefix functioning as a preparation to the V.
Deceptive Cadence
The V chord is not followed by the expected "I" but by some other chord.
Chord Succession
A series of chords moving w/in an area.
Chord Progression
Harmonic motion from one area to another.
Motive
Short melodic fragment used as a constructional element, must appear atleast twice
Sequence
repititon in the same voice at a new pitch level
Types of Variation
ornamentation, intervallic change, retrogression, augmentation or diminution
Retrogression
When the notes of a passage recur in reverse order.
Augmentation
Varies rhythm systematically. Specifically, the duration value of each note is multiplied.
Diminution
Duration valuse of each note is divided.
Tonal sequences
involve slight changes due to transposition, not an actual variation
Real Imitation
motive unchanged by imitating voice
Free Imitation
imitating voice changes the motive rhythmically or by intervallic change or ornamentation
Types of Introductions
Bar/2 of accompaniment, one or more chords, one or more notes, anticipation of opening motive
Types of Interpolation
prolongation
Types of Extension
Prolongation of final note or chord, repition of final phrase member
repition
same idea stated again
similar
Cadences are radically different, they have a different goal.
varied
harmonic movement of 2 phrases leads to the same goal
phrase group
two different phrases that are similar
phrase chain
dissimilar phrases appearing consecutive
period
Series of phrases, related by virtue of harmonic organization or tonal structure.

Final phrase of the period completes a harmonic movement that the preceding phrase or phrases had left incomplete.
complete harmonic movement
move away from a tonic w/ a return to that tonic via a conclusive cadence
Interrupted harmonic movement
(deceptive cadence) passage goes to V but does not reach the final I. Instead returns immediately to the beginning and repeats both the melodic and harmonic movement, altering the ending so that it concluse w/ a final tonic.
Progressive harmonic movement
move away from tonic w/o immediate return. May embody real modulation or establishment of only a breif secondary tonic.
Repeated harmonic movement
in a period when a harmonic goal of the consequent is reached by the antecedent
antecedent
first phrase of a music period
consequent
second of 2 similar music phrases, the answer
Open
harmonically incomplete, continuous
Closed
Contains w/in self a complete harmonic movement, sectional
Binary
musical form made up of 2 sections
Ternary
three section form, A usually repeated
Unique Forms
Forms observed in few compositions