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The process of evaluating music by thoroughly deconstructing repertoire, determining manipulation and relationships between identified musical elements and compositional devices, and communicating detailed and substantiated judgments about how these relate to context, genre, and style. various musical elements such as harmony, melody, structure, texture, timbre, duration, and dynamics, and discusses compositional devices like countermelody, similar motion, and development.
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Typology: Summaries
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EVALUATION (Find an angle)
Em/A D G D/B Em Gtr 1 |-----------------|-----------------|---------------------|-------------------------|
----------------- | ----------------- | --------------------- | ------------------------- | |
---|---|---|---|---|
- 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - | - 4 - 4 - 4 - 4 - 4 - 4 - 4 - 4S | = 9 -- 9 -- 9 -- 9 - - 7 - 7 - 7 - 5 - | - 5 - - 5 - - 5 - - 5 - - 5 ----------- | |
----------------- | ----------------- | --------------------- | ---------------- 5 - - 5 - - 7 - - | |
----------------- | ----------------- | --------------------- | ------------------------- | |
Gtr 2 | ----------------- | ----------------- | --------------------- | ------------------------- |
----------------- | ----------------- | --------------------- | ------------------------- | |
----------------- | ----------------- | --------------------- | ------------------------- | |
----------------- | ----------------- | --------------------- | ------------------------- | |
- 7 - 7 - 7 - 7 - 7 - 7 - 7 - 7 - | - 9 - 9 - 9 - 9 - 9 - 9 - 9 - 9 - | - 10 - 10 - 10 - 10 - 9 - 9 - 9 - 9 - | - 7 - - 7 - - 7 - - 7 - - 7 - - 7 - - 7 - - 7 - - | |
----------------- | ----------------- | --------------------- | ------------------------- | |
Bass | ----------------- | - 7 - 7 - 7 - 7 - 7 - 7 - 7 - 7 - | --------------------- | ------------------------- |
- 7 - 7 - 7 - 7 - 7 - 7 - 7 - 7 - | ----------------- | - 5 -- 5 -- 5 -- 5 -- 9 - 9 - 9 - 9 - | - 14 - 14 - 14 - 14 - 14 - 14 - 14 - 14 - | |
----------------- | ----------------- | --------------------- | ------------------------- | |
----------------- | ----------------- | --------------------- | ------------------------- |
COMPOSITIONAL DEVICES
Terms Definitions Canon Where one or more voices imitate a leading melody/voice. The two or more parts will overlap. Eg frĆØre Jacques Call and response Where one voice initiate an idea and another follows in a similar or slightly varied way melodically/rhythmically Countermelody A second melody (directly) above or below the main melody Similar motion Melody notes going in the same direction Contrary motion Melody notes going in the opposite direction Cross rhythm/polyrhythm/hemiola Two different rhythms used at the same time, eg 2 quavers in the melody and triplet quavers in the bass Development Changes/variations of motif and themes (imitation, sequence, inversion, fragmentation, augmentation, diminution) Fragmentation Breaking a theme into little bits in order to develop it Extension Developing a phrase or motif by making it longer Imitation Repetition by one or more different voices/instruments of a phrase Inversion Turning melody, rhythm, harmony, phrase, theme, motif upside down (reverse the order) Sequence Repetition of a musical phrase at a higher or lower pitch Ostinato A repeated accompaniment pattern that can be rhythmic or melodic, maintained throughout the section/piece Repetition Where a phrase is repeated immediately (exact) Variation Repetition with a slight change Motif A short theme that can be manipulated using other devices Riff Jazz/rock equivalent of ostinato Voice leading The technique of changing smoothly from one chord to another with as little movement as possible between the chord tones. Often used in Jazz, choir harmonies and string ensembles. Transition The shift from one musical idea or section to another. Transitions can be smooth or abrupt depending on what the composer is trying to achieve.