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A comprehensive overview of various music terminology and concepts, covering topics such as absolute music, antiquity, baroque, classical, composers, instruments, medieval music, modernism, non-western music, notation, oral traditions, referential music, renaissance, romanticism, and various musical elements like dynamics, pitch, rhythm, silence, sound, synthesis, timbre, time, form, harmony, melody, rhythm, synthesis, tempo, texture, counterpoint, polyphony, homorhythmic, imitation, round, homophony, monophony, phase, range, contour, cadence, melody, repetition and contrast, motive, syncopation, trill, pizzicato, florentine camerata, lead sheet chord symbols, monody, strophic music, imitative polyphony, and liturgical music. The document serves as a valuable resource for understanding the fundamental concepts and terminology in the field of music.
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EXAM 1 MUSIC SLCC QUESTIONS AND
ANSWERS
Absoulute iiMusic ii- iiAnswers ii-Music iithat iihas iino iiexternal iireference iito iitext, iistory, iidance, iior iiany iiother iiartistic iiinfluence. iiIt iiis iimusic iifor iithe iisake iiof iimusic iiand iiis iialso iireferred iito iias ii"pure iimusic". Antiquity ii- iiAnswers ii-The iitime-period iibefore iithe iiMiddle iiAges ii(400 iiA.D.). iiDue iito iithe iilack iiof iirecording iiand iinotational iicapabilities iimost iiof iithe iimusic iifrom iithis iitime- period iiis iiunknown. Baroque ii- iiAnswers ii-The iiterm iiused iito iidescribe iithe iimusical iigenres iiand iistyles iifrom ii 1600 - 1750. iiIt iiwas iia iiword iiapplied iito iithings iithat iiwere iiconfused iior iimisshapen. iiIn iimusic iiit iirepresents iiraw iielements iiof iivolatility iiand iiunnaturalness. Classical ii- iiAnswers ii-The iiterm iiused iito iidescribe iithe iimusical iigenres iiand iistyles iifrom ii 1750 - 1825. iiThe iiterm ii"classic" iidescribes iisomething iibroad iiand iilong-lasting iiwhich iiappeals iito iia iiwide iirange iiof iipeople Composers ii- iiAnswers ii-A iiperson iiwho iiwrites iimusic. Insruments ii- iiAnswers ii-Devices iicreated iito iiproduce iimusical iisound. Medieval ii(Middle iiAges) ii- iiAnswers ii-A iiterm iiused iito iidescribe iithe iitime iibetween iithe iiRoman iiEmpire iiand iithe iiRenaissance ii(400 iiAD ii- ii 1400 iiAD). iiAlso, iireferred iito iias iithe iiMedieval iiera. iiChant iiwas iithe iidominant iimusical iiform iiof iithe iitime. Modernism ii- iiAnswers ii-The iideliberate iiseparation iifrom iipast iistructures iiwith iia iisense iiof iiinnovation iiand iistyle. iiThis iitook iiplace iiduring iithe ii20th iiCentury. Non-Western iiMusic ii- iiAnswers ii-Consists iiof iiany iistyle iior iigenre iiof iimusic iithat iiis iinot iiderived iifrom iiWestern iicivilization iiand iitherefore, iidoes iinot iifollow iiwestern iipractices. iiMany iicomposers iiof iiWestern iimusic iiincorporate iistyles iifrom iithe iiMiddle iiEast, iiAfrica, iiIndia, iithe iiOrient, iiand iimany iiindigenous iicultures iiof iithe iiWestern iiHemisphere.
Notation ii- iiAnswers ii-A iivisual iisystem iiof iirecording iimusic iifor iifuture iiposterity iiwith iisymbols iithat iirepresent iisound. iiMuch iiof iithe iimusic iibefore iithe iiMiddle iiAges iiis iiunknown iidue iito iithe iilack iiof iinotation. Oral iiTraditions ii- iiAnswers ii-The iiact iiof iipassing iidown iispeech iior iiliterature iifrom iigeneration iito iigeneration iior iifrom iicommunity iito iicommunity iiby iiword iiof iimouth. iiNo iiphysical iinotation iiof iithe iitext iiis iiused. iiOne iimust iimemorize iithe iiwords iiand iithen iibe iiable iito iirepeat iithem iiexactly. Referential iiMusic ii- iiAnswers ii-Music iithat iiis iibased iion iior iiinspired iiby iiexternal iisources. iiExamples iiof iireferential iimusic iiwould iibe iiprogrammatic iimusic ii(music iithat iitells iia iistory) iiand iimusic iifor iidancing iior iifilm iiproductions. Renaissance ii- iiAnswers ii-the iiFrench iiword iifor ii"rebirth." iiIt iidescribes iithe iiactivity, iispirit, iior iitime iiof iithe iigreat iirevival iiof iiart, iiliterature, iiand iilearning iiin iiEurope iifrom ii 1400 iiAD iithrough ii 1600 iiAD, iimarking iithe iitransition iifrom iithe iimedieval iito iithe iimodern iiworld, Romanticism ii- iiAnswers ii-the iiterm iiused iito iidescribe iithe iimusical iigenres iiand iistyles iifrom ii 1800 - 1900. iiThe iicompositions iiof iithis iiperiod iiexpanded iibeyond iithe iiharmonic iiand iimelodic iirigidity iiof iithe iiClassical iiera. iiPassion, iichivalry, iiadventure, iiand iiemotion iialong iiwith iiidealism iiare iicharacteristics iiof iithis iiperiod. Dynamics ii- iiAnswers ii-The iisymbols iiused iito iirepresent iihow iiloud iior iisoft iithe iimusic iishould iibe iiplayed ii(for iiexample: iiff iif iimf iimp iip iipp) Music ii- iiAnswers ii-organized iisound iiand iisilence iiin iitime. Pitch ii- iiAnswers ii-the iivertical ii(highness iior iilowness) iidimension iiof iimusic. iiMathematically, iipitch iiis iimeasured iiby iithe iivibrations iiper iisecond iiof iisound. iiThe iispeed iiof iia iivibration iidetermines iithe iipitch; iithe iifaster iithe iivibration iithe iihigher iithe iipitch iiand iiconversely iithe iislower iithe iivibration iithe iilower iithe iipitch. iiOne iicomplete iicycle iiof iia iisound iiwave iiis iicalled iia iihertz ii(Hz). iiPitch iiis iimeasured iiby iihertz. Rhythm ii- iiAnswers ii-the iidivision iiof iitime iiinto iimeasurable iidurations, iior iithe iielement iiof iimusic iithat iimanipulates iithe iiframework iiof iitime iiand iiduration. Silence ii- iiAnswers ii-the iilack iiof iisound. Sound ii- iiAnswers ii-an iiauditory iivibration iiproduced iiby iistimulating iithe iiorgans iiin iithe iiear. Synthesis ii- iiAnswers ii-a iimethod iiof iicombining iiany iinumber iiof iielements iiinto iia iisingle iientity.
Timbre ii- iiAnswers ii-the iidistinctive iiquality iiof iisounds, iidepending iion iistrength iiof iifrequencies iiand iiresonance. Time ii- iiAnswers ii-a iiperiod iiof iiduration iiwhere iisequential iievents iirelate iito iione iianother. Form ii- iiAnswers ii-a iibalance iiof iirepetition iiand iicontrast iiin iia iimusical iicomposition. Harmony ii- iiAnswers ii-two iior iimore iidifferent iipitches iibeing iiexecuted iisimultaneously. Melody ii- iiAnswers ii-musical iisounds iiarranged iiin iia iidistinct iisequence. iiThe iitheme iior iimain iiidea iiof iia iisong iior iicomposition. Rhythm ii- iiAnswers ii-the iidivision iiof iitime iiinto iimeasurable iidurations, iior iithe iielement iiof iimusic iithat iimanipulates iithe iiframework iiof iitime iiand iiduration. Synthesis ii- iiAnswers ii-a iimethod iiof iicombining iiany iinumber iiof iielements iiinto iia iisingle iientity Tempo ii- iiAnswers ii-the iirate iiof iitime ii(how iifast iior iislow) iidesignated iifor iia iipiece iiof iimusic. Texture ii- iiAnswers ii-the iiinterwoven iistructure iiof iiseparate iimusical iilines iior iimelodies iiin iithe iiharmony iiof iimusic. Timbre ii- iiAnswers ii-the iidistinctive iiquality iiof iisounds, iidepending iion iistrength iiof iifrequencies iiand iiresonance. counterpoint ii- iiAnswers ii-The iitechnique iiof iicomposing iitwo iiindependent iimelody iilines. polyphony ii- iiAnswers ii-The iimusical iitexture iiin iiwhich iithere iiare iimultiple iimelodies iioccurring iiat iithe iisame iitime. homorhythmic ii- iiAnswers ii-The iimusical iitexture iiin iiwhich iiall iivoices iising iithe iisame iirhythm iiat iithe iisame iitime imitation ii- iiAnswers ii-The iicompositional iitechnique iiin iiwhich iidifferent iivoices iitake iiturns iimimicking iieach iiother round ii- iiAnswers ii-A iispecial iikind iiof iicomposition iiwhere iiall iiof iithe iivoices iising iithe iisame iimelody iibut iithey iistart iiat iidifferent iitimes homophony ii- iiAnswers ii-The iimusical iitexture iiin iiwhich iithere iiis iia iisingle, iiprominent iimelody iiaccompanied iiby iia iisimple, iichordal iiharmony
monophony ii- iiAnswers ii-The iimusical iitexture iiin iiwhich iithere iiis iia iisingle iimelody iiwith iino iiaccompanying iiharmony phase ii- iiAnswers ii-A iimusical iisentence range ii- iiAnswers ii-The iivertical iiwidth iiof iia iimelody contour ii- iiAnswers ii-the iigeneral iishape iiof iia iimelody cadance ii- iiAnswers ii-Musical iipunctuation melody ii- iiAnswers ii-A iiseries iiof iisuccessive iipitches iiperceived iias iia iiconceptual iiwhole. repetition iiand iicontrast ii- iiAnswers ii-The iiconcepts iithat iiconstitute iiform iiare: Motive ii- iiAnswers ii-The iismallest iiidentifiable iimusical iiidea ii(often iionly iia iifew iinotes iiin iilength) iiis: sycopation ii- iiAnswers ii-The iipractice iiof iiemphasizing iinotes iioff iithe iinormal iibeats iiof iithe iirhythm iior iiemphasizing iithe ii"offbeat" Trill ii- iiAnswers ii-very iiquick iimovement iibetween ii 2 iipitches Pizzicato ii- iiAnswers ii-plucking iithe iistrings Florentine iiCammerata ii- iiAnswers ii-a iigroup iiof iiintellectuals iiand iiartists iiin iiFlorence, iiItaly, iiwho iideveloped iia iinew iistyle iiof iimusic iicalled iimonody lead iisheet iichord iisymbols ii- iiAnswers ii-The iiBaroque iipractice iiof iinotating iia iifigured iibass iiis iimost iicomparable iito iiwhat iimodern iiday iipractice? monody ii- iiAnswers ii-a iivocal iisoloist iiwith iia iisimple, iichordal iiharmonic iiaccompaniment strophic iimusic ii- iiAnswers ii-The iimusic iirepeats iiwith iievery iinew iiverse/stanza iiof iitext imitative iipolyphony ii- iiAnswers ii-a iicompositional iitechnique iiin iiwhich iithe iiparts iitake iiturns iisinging iithe iisame iimelody iiand iirhythm ii- iisimilar iito iia iiround liturgical iimusic ii- iiAnswers ii-music iifor iiworship iiservices