Music For Dancers Midterm

Ontology

The study of the nature of existence leading us to ask the question “where is music”

Temporality

The structure of time within music + the fact that it exists in time not space

Spacial/visual dimension of dance

Dances ability to exist in space and be seen

Convergence

from the article: the points where music and dance share quality/structure

Divergence

from the article: the points where music and dance differ in quality/structure

Gapping

from the article: “a strategy for creating ‘space’ for music and image to inhabit equally and to oeperate collaboratively in the cnsruction of meaning.” (Cook)

Gesture

from the article: a human movement that is “expressive or communicative whether consciously or subconsciously, one that we engage with and respond to interpratvely”. In music it is related to the human experience but disembodied (but can be percieved through physical activity"

Mickey Mousing

From the article: when music and dance match up too much that they’re predicatable and not interesting ,

Melody

The tune of the music, or the part that we sing along to. “The Face of the piece”

Beat

regularly recurring sound that divides the passing of time into equal beat units

Rhythm

the most fundemental element of music, how we “catch” the time, dependent on beat, tempo, and meter

Meter

the underlying structure of music that organizes beats, tells the performer how the beats of the music are grouped

Measure/bar

group of beats

Accent

the stress put on a note or chord to make it stand out from the sorrounding notes

Phrase

a sequence of notes in the passage of music

Chord

a group of 2+ pitches

Harmony

the similtaneous sounding of one or more pitches that support and enhance the melody

Scale

a fixed pattern of tones within an octave that ascends or descends

Major Scale

Indicates larger space and happier tone: 1-1-.5.-1-1-1.-.5

Minor Scale

Indicates less space and somber tone 1-.5-1-1.5-1-1

Diatonic harmony

When the piece and the chords stay in the key

ex) Twinkle Twinkle Little Starr

Chromatic Harmony

When the piece or chrods move out of the key

ex) Romeo and Juliet Love theme

Consonance

a chord or harmony that stays where it is, can repeat itself, and is a resolution

Dissonance

a chord or harmony that requries resolution from another chord

Dynamics

variation in volume between notes or phrases

Articulation

the quality of the music, how a given note/phrase is presented

Stacatto

noes played in a short, crisp manner

Legato

notes played in a smooth, cnnecfted nautere

Color

the tone quality produced by the voice or the instrument

Register

the instruments pitch range

Texture

the density and arrangment of muisc

Form

the arragment and ordering of musical events

Style

the combination and the created image of a piece, differs between eras and brought on by individual composers

Organicism

a biological phenomenon of a seed growing new information for DNA/microbiology

Motif

the smallest recognizable unit of musical meaning, like a reacurring sequence of notes, a rhythm, or a chord pattern

Ostinato

a short musical phrase that is consistently repeated through musical work

Miniture Composition

romantic era short and sharp works about specific things (includes Etudes)

Grandiose Composition

romantic era larger conversations (includes novel-like pieces)

Character Piece

a small romantic era composition, often played on piano about one specfic idea or theme

Study/Etude

a short romantic era piece written to master a certain skill or to practice playing a certain thing

Musical Resolution

the movement from dissonance in sound to cossance in sound creates a clean ending

Rubato

Comes from the world “stolen” in Itlaian, it is when music slows down and then gets faster to catch up in time, creating the feeling of being “stuck”

Lyrical Melody

a singable melody known off notes, often cooresponds wel with dance gestures w

Baroque Period

1600-1750, a musical era with a strong and consistent beat structure (ex. Vivalids’s winter !st movement”

Classical Period

1750-1820, a usical era that perfected the concepts of music theory and where form was the most important. It was good for beginners and for dancing. (ex. Mozarts 40th symphony).

Romantic Period

1820-1890, musical era based on themes, often utilize repeating motifs for organism, break away from more basic o\form

Romantic Era Themes

Nature, love, death, water, night

Moving Water symbolism

never still, “you can never step in the same water twice”, “You never know where the river is going”

German Art Song

Pieces written for the voice with piano accompaniment based of the poetry that eh musician hears and interprets

Vivaldi — The Four Seasons, “Winter, First Movement

Baroque, represents snowsorm, uses call and response, tension from cresdons, very staccoto

Bach — Double Concerto in D Minor

Baroque, utilizes dissonant harmonys w/no charnge in register, some sporadic notes, very high in pitch, “like argument”

Mozart — Symphony No. 40

Classical, heavy repitition utlizing a rhythmic melodyk, very litttle disonance, very sfe and controlled

Beethoven — Symphony No. 7 Movement 2

Classical to romantic, big somber moment with ostinato rhythm

Chopin — Etude Op. 10 No. 4 (Pollini Performance)

romantic, written as study, usen for graduation, has gotten faster with players over time

Shumann — Carnaval, Op. 9-11, “Chiarina”

Romantic- about his wife, “Little Clara”, good to dance to, no sudden contrast

Shubert — “Der Elkonig”

Romantic- Shuberts German art song written about father and dying son

Schumann — Vocal Duets, Op. 74 No.4, “In Der Nacht”

romantic, begins with gentle piano, then womens voice, then they play togther

The Kings Speech Segment

?

Tschaikovsky — Symphony No. 5, Movement 2

era? dissonant and conssant harmonys, in four beats, low register