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The speed of music,i.e., the rate at which the accented and unaccented beats of the meter follow one another.
One of the modes of the diatonic scale, oriented around C as the tonic; characterized by the interval between the first and third notes containing four semitones, as opposed to three in the minor mode.
One of the modes of the diatonic scale, oriented around A as the the tonic; characterized by the interval between the first and third notes containing three semitones.
Intervals or chords that sound relatively stable and free of tension, as opposed to dissonance.
A musical texture that involves only one melody of real interest combined with chords or other subsidiary sounds.
The blend of the various sounds and melodic lines occurring simultaneously in a piece of music.
Especially in chant, the single note used for musical "recitation," with brief melodic formulas for beginning and ending.
In a melody, a series of fragments identical except for their placement at successively higher or lower pitch levels; in the Middle Ages, a type of plainchant in which successive phrases of text receive nearly identical melodic treatment.
The main Roman Catholic service; or the music written for it. The musical mass consists of five large sections: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.
A polyphonic musical texture in which the various melodic lines use approximately the same themes.
A set of chords continuosly underlying the melody in a piece of Baroque music; the instruments playing the continuo, usually cello plus harpsichord or organ.
From the Baroque period on, the system whereby all chords have a specific interrelation and function in relation to the tonic.
A half-singing, half-reciting style of presenting words in opera, cantata, oratorio, etc., following speech accents and speech rhymes closely. Secco recitative is accompanied by orchestra.
A composition written systematically in imitative polyphony, usually with a single main theme, the fugue subject.
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