Chapter 5– Musical Texture
Texture – interweaving of the melodic lines with harmony in music
Monophony – single melody (or voiced music) with no harmony
Can be accompanied by rhythm and percussion instruments, but focus is on the single melody (ex. Chant)
Homophony – single voice is prominent over the accompanying lines, or voices
Homophony is based on harmony. Usually chords support and the melody is highlighted
Polyphony (“many-voiced” texture) – two or more independent melodic lines that are played simultaneously. Polyphony is based on counterpoint (one musical line set against another)
Imitation – melodic idea is presented in one voice, then restated in another voice. While the imitating voice restates the melody, the first voice continues with new material. Imitation is a common unifying technique in polyphony
Canons and rounds are two types of entirely imitative works. (ex. Row, Row, Row Your Boat)
Chapter 6– Musical Form
Form refers to a work’s structure or shape, the way the elements of a composition have been combined, or balanced, by the composer to make it understandable to the listener.
Form is the organizing principle in music; its basic elements are repetition, variation, and contrast.
1. Basic structural elements of music: Repetition, Variation, and Contrast
a. Repetition: fixes the material in our minds and satisfies our need for the familiar
b. Variation: some aspect of the music are altered but the original is still recognizable
c. Contrast: stimulates our interest and feeds our desire for change.
Strophic form: common in songs, features repeated music for each stanza of text.
What makes each piece of music unique is the way the composer adapts a general plan to create a wholly individual combination.
Improvisation: pieces created spontaneously in performance (ex. Jazz, Rock, Gospel)
Two-Part and Three-Part Form – basic structures in music common in short pieces such as songs and dances.
a. Two-part or Binary form (A-B) – based on a statement and a departure, without a return to the complete opening section.
b. Three-Part or Ternary form (A-B-A) – extends the idea of statement and departure by bringing back the first section.
Theme: a melodic idea used as a building block in the construction of a larger musical work.
Thematic Development: The expansion of a theme, achieved by varying its melodic outline, rhythm, or harmony. This is an important technique in composition and requires imagination and craft on the part of the composer. Thematic Development is used in larger complex works.
Ways to Develop a Theme
1. Repetition – simply repeating the theme over and over
3. The theme can be broken into small, component fragments called motives.
Call-and-response (or responsorial) music, a repetitive style involving a soloist and a group.
Ostinato is the repetition of a short melodic, rhythmic, or harmonic pattern
Chapter 7– Musical Expression: Tempo and Dynamics
Composers indicate tempo and dynamics in music as means of expression
Tempo and dynamic markings are traditionally given in Italian. This practice reflects the domination of Italian music in Europe during the period from around 1600-1750, when performance directions were established.
Tempo is the rate of speed, or pace, of the music
Grave – solemn (very, very slow)
Largo – broad (very slow)
Adagio – quite slow
Andante – walking pace
Moderato – moderate
Allegro – fast (cheerful)
Vivace – lively
Presto – very fast
Dynamics describe the volume, or how loud or soft the music is played
Pianissimo (pp) – very soft
Piano (p) – soft
Mezzo piano (mp) – moderately soft
Forte (f) – loud
Mezzo forte (mf) – moderately loud
Fortissimo (ff) – very loud
Crescendo – growing louder
Decrescendo or diminuendo – growing softer
Sforzando (sf) – “forcing” accent on a single note or chord (>)
