Phrase Structure, Form, And Texture

Question 1

Period

Answer 1

Two phrases that relate to each other like a question and answer does in language

Question 2

Antecedent

Answer 2

First phrase that ends with a less complete cadence (HC, DC, or PC)

Question 3

Consequent

Answer 3

Second phrase that usually ends with a strong cadence (IAC, PAC)

Question 4

Parallel period

Answer 4

Beginning of the phrase is the same in both phrases

Question 5

Contrasting period

Answer 5

Beginning of the melody in each phrase is different (ab)

Question 6

Form

Answer 6

Analysis of phrase structure

Question 7

Song form

Answer 7

Most common (AABA’)

Question 8

Binary

Answer 8

Two phrases together that create larger sections, often repeated (AABB). May also be compromised of two sections that are similar (AA’). Simple binary was pretentious used for dances that maintained the same rhythmic feel but uses different keys for each section; music often moves to a new key in the B section, but returns to tonic at the end of the B section.

Question 9

Sectional Binary

Answer 9

First section that ends with an authentic cadence (AC) in the original key

Question 10

Continuous Binary

Answer 10

Any other cadence or modulation that occurs at the end of the B section

Question 11

Strophic

Answer 11

The same music is used for each verse or stanza (AAAA)

Question 12

Through-composed

Answer 12

New music for each stanza, often to reflect different moods for each stanza.

Question 13

Ternary

Answer 13

Three parts with a recapitulation of the first part (ABA). The first section could be repeated (AABA), which was popular with 18th century operatic acts.

Question 14

Rounded Binary

Answer 14

Closely related to Ternary but with one big difference- in rounded binary only a PORTION of the the A material returns after the B section. It is usually half of the original sections material (usually the latter half containing a PAC)

Question 15

Rondo

Answer 15

Has a principal theme (sometimes called motive) that alternates with one or more contrasting themes (generally called episodes or digressions). Most rondos fall into five-part (ABACA) or seven- part (ABACABA) form.

Question 16

Arch

Answer 16

Resembles a rondo without the intermediate repetition of the main theme (ABCBA)

Question 17

Theme and Variation

Answer 17

Has only one “section” and is repeated indefinitely and is varied each time (AA1A2A3etc…) important variation of this form is passacaglia and chaconne, which features a repeating bass theme (sometimes called basso ostinato) over which the rest of the musical structure is written:

Question 18

Sonata-Allegro

Answer 18

Came to importance during classical period mostly by Hayden, Mozart, and Beethoven. Found mostly in the first movement of sonatas and large symphonies. And has three main sections.

Question 19

Exposition

Answer 19

Main theme in a tonic key, second theme in dominate or relative major if the first is in minor

Question 20

Development

Answer 20

Previously presented themes are expanded and developed, often traveling through several keys

Question 21

Recapitulation

Answer 21

Restatement of the exposition with the first and second themes both in the tonic key and often concludes wuth a coda or codetta

Question 22

Texture

Answer 22

Describing how much is going on in the music at any given moment

Question 23

Monophonic

Answer 23

Music only has one melodic line with NO harmony or counterpoint. They may be rhythmic accompaniment. Sometimes called monophony,

Question 24

Homophonic

Answer 24

Has one clear melodic line that naturally draws your attention. All other parts/lines provide accompaniment or fill in the chords. This is mostly 4-part writing. Sometimes Homophony.

Question 25

Polyphonic

Answer 25

More than one independent melody occurring at the same time. Examples includes rounds, canons, and fugues. If the individual lines are similar in their shapes and sounds , then it is imitative and non-imitative. If the individual lines are similar in their shapes and sounds, than it it imitative. A fugue is an example of a imitative polyphony that was very popular in the baroque period.

Question 26

Heterophonic

Answer 26

Only one melody, but different variations of it are being sung or played at the same time. Very popular in blue grass and cajun style of music along with middle eastern, south asian, and Native American music. Sometimes called heterophony.