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45 Cards in this Set

  • Front
  • Back
ASYMMETRICAL
period in which phrases differ in length
CADENTIAL EXTENSION
prolongation or delay of the cadence
CONTRASTING
period in which musical content of phrases differ
DOUBLE PERIOD
period sturcture where the q & a relationship is fulfilled by pairs of phrases
ELISION
connection of 2 phrases where cadential point of 1st is when the 2nd phrase begins
INTERPOLATION
lengthening phrase repition by inserting material that's not in the original phrase
LINK
material between 2 phrases but isn't a part of either phrase
MODULATING
period where modulation occurs in the ans. phrase
PARALLEL
period where musical content of phrases is the same
SYMMETRICAL
period where phrases are the same length
PERIOD
q/a element, made up of 2 or more small units
PHRASE
smallest musical unit that ends in a cadence
PHRASE GROUPS
phrases you can put together but that don't have a q/a
EXPOSITORY
exposes musical materials that are important in context of whole piece
TRANSITIONAL
serves connecting function between sections of musical content
DEVELOPMENTAL
contains previous info in different form
TERMINATIVE
brings sections or complete works to a close
SIMPLE BINARY FORM
parts separated by :||, parts related but not the same
ROUNDED BINARY FORM
ABA - 2nd A comes back partially or fully
SIMPLE TERNARY
ABA, A's aren't that form based
COMPOSITE TERNARY
smaller forms are clearly perceived in larger form's structure
CONTRAPUNTAL
more than one melody at the same time
HOMOPHONIC
block chords w/the same rhythm
POLYPHONIC
more than one melody at once but rhythm independent
AUGMENTATION
lengthening note values of the motive
CONTRACTION
reduction of size of 1 or more intervals in a motive
STATEMENT & CONTINUAL DEVELOPMENT
one voice imitates another is some form
DIMINUTION
use of shorter note values for all or part of a motive
EXPANSION
enlargement of size of 1 or more intervals in a motive
FRAGMENTATION
use of part of a motive
IMITATION
repetition of motive or fragment in a different voice
INVERSION
reversal of direction of intervals in a motive
POINT OF IMITATION
marks beginning of series of imitative entries in contrapuntal piece
RETROGRADE
reversal of order of intervals in a motive
SEQUENCE
repetition in the same voice of a motive or fragment at a different pitch level
STRETTO
overlapping imitation of subject/answer in a fugue
TEXTURAL INVERSION
top & bottom voices do same thing but 1 higher than normal & 1 lower than normal
REAL ANSWER
exact transposition of the subject
TONAL ANSWER
some notes are changed in transposition
COUNTERSUBJECT
theme that shows up as many times as the ans or sub shows up
TONALITY
abrupt change in key or mode
RHYTHM
systematic change in prevailing note value
TIMBRE
change in tone color - being able to distinguish between different instruments
TEXTURE
change in rhythmic & melodic relationships between voices
MOTIVE
return of prominent melodic or rhythmic event