Exploring the Elements of Music A

SECOND ARY/KEY STAGE 3 MUSI C – BUILDING BRICKS K NOWLEDGE ORGANISER Exploring the Elements of Music A. Pitch B. Tempo C. Dynamics D. Duration The highness or lowness of a sound. The speed of a sound The volume of a sound The length of a sound. Getting Higher High Pitch Stepwise (Conjunct) or piece of music. or piece of music. FAST: Allegro, Vivace, Presto VERY LOUD: Fortissimo (ff) SLOW: Andante, Adagio, Lento LOUD: Forte (f) Low Pitch Getting Lower GETTING FASTER – QUITE LOUD: Mezzo Forte (mf) Leaps (Disjunct) Accelerando (accel.) QUITE SOFT: Mezzo Piano (mp) GETTING SLOWER – SOFT: Piano (p) Ritardando (rit.) or VERY SOFT: Pianissimo (pp) SHORT LONG Rallentando (rall.) GETTING LOUDER: Crescendo (cresc.) GETTING SOFTER: Diminuendo (dim.) E. Texture F. Timbre or Sonority G. Articulation H. Silence How much sound we hear. Describes the unique sound or tone How individual notes or sounds are The opposite or absence THIN TEXTURE: (sparse/solo) – small quality of different instruments played/techniques. of sound, no sound. In amount of instruments or melodies. voices or sounds. LEGATO – playing notes music these are RESTS. in a long, smooth way shown by a SLUR. STACCATO – playing notes in a Velvety, Screechy, Throaty, Rattling, Mellow, short, detached, spiky way shown THICK TEXTURE: (dense/layered) – Chirpy, Brassy, Sharp, Heavy, Buzzing, Crisp, by a DOT. lots of instruments or melodies. Metallic, Wooden etc. I. Notation How music is written down. STAFF NOTATION – music written on a STAVE (5 lines and spaces) GRAPHIC NOTATION/SCORE – music written down using shapes and symbols to represent sounds. ©WWW.MUSICALCONTEXTS .CO.U K .

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A Guide to the Global Graphic Score Project Contents Introduction 2
A guide to the Global Graphic Score Project Contents Introduction 2 A guide to graphic scores 3 Composing a graphic score 5 Performing a graphic score 6 Global Graphic Score Project | School of Noise 1 Introduction What is it? The Global Graphic Score Project by the School of Noise (in partnership with Alexandra Palace) aims to bring together people from around the world using sound and art. Whatever your age, location or musical or artistic skill level, you are invited to take part in this worldwide experimental sound art collaboration. We would like to encourage people who have never met to be inspired by each other’s artwork to create new sounds and pieces of music. Together we can create a unique collection of beautiful graphic scores and experimental pieces of music. How does it work? • Individuals or groups of people design and upload their graphic scores. • People view the online gallery of graphic scores and select one to download. • These scores are performed and turned into music and sound art pieces. • Recordings are made and loaded to our website for other people to listen to. You can choose to be the composer or the performer. Or maybe try doing both! What next? The next few pages will explain what graphic scores are, provide you with ideas on how to make one, and suggest ways you can turn a graphic score into music. We hope that you have lots of fun creating and performing these graphic scores. Final notes This activity can take place anywhere and you don’t have to have real musical instruments available.
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Audition Preparation Tips Since We Do Not Know Which Group You Will Be
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TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
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Articulation from Wikipedia, the Free Encyclopedia
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NAVIGATING MUSICAL PERIODICITIES: MODES OF PERCEPTION AND TYPES OF TEMPORAL KNOWLEDGE Galen Philip DeGraf Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Galen Philip DeGraf All rights reserved ABSTRACT Navigating Musical Periodicities: Modes of Perception and Types of Temporal Knowledge Galen Philip DeGraf This dissertation explores multi-modal, symbolic, and embodied strategies for navigating musical periodicity, or “meter.” In the first half, I argue that these resources and techniques are often marginalized or sidelined in music theory and psychology on the basis of definition or context, regardless of usefulness. In the second half, I explore how expanded notions of metric experience can enrich musical analysis. I then relate them to existing approaches in music pedagogy. Music theory and music psychology commonly assume experience to be perceptual, music to be a sound object, and perception of music to mean listening. In addition, observable actions of a metaphorical “body” (and, similarly, performers’ perspectives) are often subordinate to internal processes of a metaphorical “mind” (and listeners’ experiences). These general preferences, priorities, and contextual norms have culminated in a model of “attentional entrainment” for meter perception, emerging through work by Mari Riess Jones, Robert Gjerdingen, and Justin London, and drawing upon laboratory experiments in which listeners interact with a novel sound stimulus. I hold that this starting point reflects a desire to focus upon essential and universal aspects of experience, at the expense of other useful resources and strategies (e.g. extensive practice with a particular piece, abstract ideas of what will occur, symbolic cues) Opening discussion of musical periodicity without these restrictions acknowledges experiences beyond attending, beyond listening, and perhaps beyond perceiving.
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Choir 6 Grade
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