form final

metrical dissonance

misalignment between layers

grouping dissonance

different card. , mis alignment, gx/y

displacement diss.

same card., offset from each other, Dx+a

pulse layer

faster layer underneath

cardinality

the pulse of each interpretive layer

interpretive layer

the layer observed

who is concerned with metrical dissonance

krebs

metrical consonance

when pulses of layers are aligned/ sound together

direct dissonance

sense of meter is obvious, teh interpretive layers are happening together

indirect

when a layer stops, the listener still perceives

subliminal

layers are not aligned with bar lines

dem bow

hispanic influence, reggaeton

ewe

southeastern Ghana, southern togo, Benin, group of people

yewe

religion practiced by some ewe people

yewevwu

the music of the yewe religion, drum influence

transition cue

lead drummer makes decision to shift, yewe

improv in yewevwu

som play fixed parts, lead drum and others may improvise stylistically.

Japanese tetrachords

three pitches, lower upper nuclear, inner note, affix

miyakobushi

capital city song, P4 + half step from lower

the lower and upper nuclear tones?

make a P4

ritsu

gagaku modes, P4+ whole

min yo

folk song, P4+ minor 3

Ryukyu

islands to the south of mainland Japan, P4+ Maj 3

shamisen

three stringed lute

how may pitches can a person play on shamisen at one point

9

te

the technique used to play the same phrase, hand positions,

what instrument is te related to

shamisen

early jazz

early 1900s, collective improv, New Orleans

swing

1930s, larger ensemble, more orchestration

Bebop

1940s, small ensemble, virtuosic, be BOP

cool jazz

1950s, mellow sounding,

hard bop

1950s, groove, gospel

free jazz

60s, free improv, harmony, rhythmic,

fusion

70s, funk

head

main melody or chord progression in the piece, jazz

chorus (jazz)

one time through form and chord progression, improv solo,

types of form for a head or chorus

12 bar blues, AABA

shout chorus

loud climactic section,

backgrounds

jazz, soft playing behind

turnaround

leads chord prog. back,

tritone sub

what would make root the top of a tritone, the sub is the bottom tritone

what chord is correlated to tritone sub

flat II7, resolves to one, Dom function

swing timing

differs from literal durations,

beat upbeat ratio

first 8th note to the second 8th, usually less than 2,

send off

push into the solo

SRDC

statement, restatement, departure, conclusion

pre chorus

departure section

chorus

conclusion

verse

statement/ restatement

conservative listeners

less likely to switch perception, amb

radical listeners

immediately switch interpretation more quickly

EDM

electronic tech, synth, music for dancing

ambiguity in music

different interpretations to the same part

ambiguity of beginning

ambiguity of the downbeat, possible pick up measure

underdetermination

not enough info to decide between interpretations, AMB.

ambiguity of metrical type

unclear what time it could be

turning the beat around

creating shift in metric organization, adds layer that changes perception

hook

catchy, happens frequently, motif almost

accumulative form

adding layers, rather than distinct sections

dance chorus

after chorus happens, contains hook, “cake”

pop drop

instead of chorus, minimal lyrics, chopped vocals

post chorus

decreasing energy, trans back to verse

american Clave rhythm

2 3333 2

American clave background

black= identity, innovation, white = traditional

standard pattern rhythm

12 12 123 12 12 1

gamelan gong kebyar

bali, metalic instruments, gongs,

kotekan

gamelan, interlocking patterns

what is improv like in gamelan

performance is same, create own version

core melody

main pitches used In the version, could be multiple versions, A,B, gamelan

metacycle

lager scale pattern going through cycles, almost like aaba, gamelan

pung mul

korean percussion, entertainment, dance aspects

melodic layer

main melody in a song,

explicit beat layer

percussion or other pulse aspects

harmonic filler layer

adding harmonies, strings, guitar etc.

functional bass layer

bass line/ lower instruments

novelty layer

contrasts with timbre, adds interests to the song

Yamaha dx7

revolutionized synth usage, less expensive

bright vs dark

higher or lower centroid= brighter/ dark

pure vs noisy

thick or thin bands on spectrogram

harmonic vs inharmonic

ratios either form whole numbers or not

full vs hollow

all harmonics represented, vs some missing

rich vs sparse

a lot of harmonics vs not a lot

compliment chorus

after bridge, like the chorus, new melody/rhythm , fits harmonics

cumulative chorus

when the compliment chorus fits in the gaps of the actual chorus

bridge

contrasting section

contrasting verse chorus form

harmonies in the verse diff from chorus

resulting patterns

the new rhythm created from interlocking patterns, ghana drumming