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Introduction to Music Chapter 7 Terms
Terms in this set (12)
Played louder. Individual notes are accented to make them seem more important than the notes around them. Accents may correspond with the beat, or they may contradict it
The numbers at the beginning of a musical score indicating how many beats there are in a measure (top number) and what kind of note gets one beat (bottom number). The top number is significant for the meter: duple, triple, or compound.
A simple pattern of regularly alternating stressed and unstressed beats. It can be counted either as ONE-two-ONE-two, known as 2/4 meter, or as ONE-two-THREE-four, known as common time or 4/4 meter.
A regular pattern of three beats, with the first one being stressed. It normally features a secondary stress on the third beat, in the pattern ONE-two-THREE, ONE-two-THREE, etc. It is also possible for the secondary stress to be placed on the second beat, giv ing music in triple meter an inherent metrical flexibility.
In poetry, an alternation of five stressed and five unstressed syllables.
An unstressed beat that comes before the dow nbeat and thus precedes the beginning of the metrical pattern. Pieces, sections of pieces, and phrases often begin on an upbeat, forcing the listener to concentrate to find where the reg ular meter actually begins.
In poetry, a meter that begins with a stressed syllable and then alternates with an unstressed one.
A rhythm consisting of notes of unequal duration, in which one is lengthened by means of a dot in the score, and the other shortened.
Three notes of equal value that subdivide a beat.
A regular pattern in which the beat is subdivided at two or more different levels. Typical compound meters are compound duple (ONE-two-three-TWO-two-three, designated as 6/8 or 6/4) and compound triple (ONE-two-three-TWO-two-three-THREE-two-three, designated as 9/8 or 9/4).
"Stolen time," in Italian. As it is used today, the term simply means a flexible, expressive approach to tempo. It is rarely marked by the composer, so its use—particularly common in music from the Romantic period—is at the performer's discretion
Multiple meters used simultaneously. This effect is rarely heard in Western music but is common in the music of Africa, the Caribbean, and the Middle East
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