| augmentation |
write/play in longer (slower) note values |
| articulation |
staccato, legato, tenuto, etc. |
| breathing |
silences between sounds |
| cycles/rotations |
cycling through figures; e.g., Alberti bass |
| diminution |
write/play in faster note values |
| directed motion |
motion towards a goal |
| elision |
subtract note/s |
| fragmentation |
a segment of a theme |
| hard/soft edge |
harder or softer definition |
| interpolation |
interject new (added) tones |
| interruption |
tones that substitute for expected goal tones; e.g., climax of Wagner's
Tristan & Isolde, act 2 |
| interval contraction |
smaller intervals, same contour; e.g., Liszt's Les Preludes |
| interval expansion |
larger intervals, same contour; e.g., Liszt's Les Preludes |
| inversion |
mirrored contour; e.g., subject and inversion in Bartok's Music
for Strings, Percussion and Celeste, first movement |
| isomelos |
same notes, different rhythm; used constantly in dodecaphony |
| microtones |
intervals smaller than a semitone |
| non-tonal scales |
scale structures that are symmetric in content; e.g., whole-tone scale,
which has no differences to imply a tonic |
| octave displacement |
melody with tones played in differing octave registers; occurs frequently
ion Webern's music |
| ornamentation |
embellishment of a given figure or framework, such as a trill |
| permutation |
change the order of pitches |
| prolongation |
goal tones used as skeleton for long lines |
| retrograde inversion |
a backwards inversion; much used in dodecaphony |
| retrograde |
a theme backwards |
| serial technique |
a constant ordering of pitch-classes, rhythms, etc. |
| shaping |
a dynamic/time contour |
| subcomplex |
extracted non-consecutive tones as a nucleus |
| subtraction /elision |
a theme/motive with subtracted tones |
| translation |
figures that are repeated in time or pitch |
| transposition |
a figure higher or lower in pitch |
| accompaniment/framework |
skeletal backdrop for other instruments |
| clusters/sound mass |
large secundal chords |
| harmonic rhythm |
rate of harmonic change |
| minimal process |
repetitive process on small number of elements; e.g., Terry Riley's
In C; Phillip Glass's Koyanisqatsi |
| non-tertian chords |
chord structures not based on thirds; e.g., quartal chords |
| nucleus |
a special set used as a primary focus; e.g., A, C, C# in Scriabin's
Op. 74/4 |
| ostinati |
obstinate, unchanging figures or aspects, usually in the bass |
| stasis |
a static figure, commonly background; e.g., repeating chord figure |
| substitution |
a chord, line, etc. that substitutes for others; e.g., ii for IV |
| translation |
figures that are repeated in time or pitch; e.g., sequence |
| unravelling |
an arpeggiation or spinning out of structures; e.g., chord arpeggiation |
| ametric |
without any feeling of meter; e.g., chant |
| augmentation |
motive at a slower tempo; longer notes; e.g., Bach's fugues |
| automoton |
like a machine; mechanically |
| diminution |
a motive at a faster tempo; e.g., Rachmaninov's Isle of the Dead
(uses Dies Irae) |
| hemiola |
change of meter within another; e.g., duple within triple (Brahms);
similar to multimeter, but without a change of meter signature; also, used
for unwritten polymeters (Schubert) |
| homorhythm |
simultaneous ensemble attacks |
| isorhythm |
changing pitches, same rhythm; e.g., isorhythmic motets |
| isomelos |
changing rhythm, same pitches |
| metric modulation |
changing the length of the pulse group |
| multi-meter |
changing meters; 4/4 to 5/8 to 6/8, etc.; e.g., Stravinsky's La
Sacre du Printemps (Rite of Spring) |
| physical action |
reflexive, muscular movements |
| polymeters |
different meters simultaneously; e.g., 2/4 + 3/4; e.g., Ives's Scherzo,
Over the Pavements |
| polyrhythm |
distinctly divergent simultaneous rhythmic patterns; e.g., Ives's Scherzo,
Over the Pavements |
| suspended time |
very long static events, with nothing much else happening |
| syncopation |
unexpected rhythms; e.g., Ives's Scherzo, Over the Pavements |
| tempo |
faster, aggitated, or slower, calmer |
| tempo modulation |
periodically accel. or decel. |
| imitation |
statements of the same idea by successive voices, normally in counterpoint;
Renaissance motets |
| isotrophy |
harmonic planes or blocks of sound moving in opposite directions |
| layering/stratification |
repetitions in each part layered with other parts; e.g., Berlioz's
Requiem, the Offertory |
| planing |
moving chords in parallel motion; e.g., in Debussy's Preludes |
| polarization |
one of two opposites; e.g., antiphony; e.g., Bartok's Music for
Strings, Percussion and Celeste |
| texture change |
dropping in or out; e.g., adding/subtracting voices/instruments; e.g.,
Ravel's Bolero |
| texture modulation |
gradually thinning or thickening; e.g., Ravel's Bolero |
| density |
increasing or decreasing the number of notes per unit time or space;
e.g., Bartok's Music for Strings, Percussion and Celeste |
| atonality (see pantonality) |
|
| modality |
use of modes other than major/minor; e.g., Hungarian folksongs |
| modulation |
a changing tonal focus; a change of key |
| pandiatonic |
all tones of a diatonic scale treated with equal importance |
| pantonality |
all (12) tones with equal importance |
| polymodality |
more than one mode at a time; e.g., Dorian and Major simultaneously |
| polytonality |
more than one tonic at the same time; e.g., Stravinsky's La Sacre
du Printemps |
| tonal axis |
tonic/dominant syntax/substitution |
| electronic alteration |
filtration or other electronic changes |
| extended techniques |
unusual playing methods on conventional instruments; e.g., Berio's
Sequenza's and Visage; Cowell's Banshee, Cage's Sonatas
and Interludes for prepared piano |
| klangfarbenmelodie |
alternating melodic tones with other instrument/s; e.g., Webern's orchestration
of Bach's Ricecar from The Musical Offering, and Symphony |
| metamorphosis |
changing one idea gradually into another; e.g., Liszt's Les Preludes,
Bartok's String Quartet No. 2 |
| multiphonics |
chords or harmonic intervals produced from harmonics |
| pointillism |
short single bursts of instrumental color interjected among others;
e.g., Webern's Concerto, op. 24 |
| sprechstimme |
nearly spoken song; e.g., Schoenberg's Pierrot Lunaire |
| timbre modulation |
changing the dynamic balance; e.g., Carter's Etude #7 from Eight
Etudes and a Fantasy |
| indeterminacy |
sounds not under control of a composer and performer; e.g., Cage's
4'33" |
| moment form |
constant figures used to unify short sections; e.g., Stockhausen Momente |
| overlap |
dovetailing old and new ideas in transition |
| parody |
quotations of sections of pre-existing music; e.g., Schubert's March
Militaire in Stravinsky's Circus Polka |
| stochastic (Xenakis) |
a controlled chance structure using probability theory |
| surprise |
a sudden contrast; e.g., Haydn's Surprise Symphony |
| transition |
a bridge from from one idea to another; e.g., Beethoven's Symphony
No 5, 3rd to 4th movements |
| union |
a joining together of non-consecutive structures |
