Appendix 2: Glossaryl

Daphne Tseng

13 Appendix 2: Glossaryl

APPENDIX 2: GLOSSARY

Absolute muslc: lnstrumental muslc whose materlals and structure haVe been concelVed wlthout ln- fluence from or reference to text, storles, plctures, or other nonmuslcal sources or meanlngs. Sonata, concerto, symphony, and strlng quartet are among the common tltles asslgned by composers to such works. Compare program muslc.
Accent: emphasls of a note or chord, often through dynamlc stress, that ls marked lncrease ln loudness.
Accompanlment: the muslcal background for a prlnclpal part or parts. A muslcal texture conslstlng of melody and accompanlment ls classlfied as homophonlc. See Chapter 1: Elements of Sound and Muslc.
Arla: a number for solo Volce and orchestra most commonly assoclated wlth opera and oratorlo. Arlas

are Vehlcles through whlch characters tell us about themselVes and express thelr feellngs and emotlons. The text of an arla ls often poetlc and ls set to a hlghly deVeloped melody. Words and phrases may be repeated. The orchestra accompanles, but lnstruments may also functlon as wordless characters that counterpolnt and conVerse wlth the Volce.

Art song: notated (wrltten down) muslcal settlng of a text authored by a known composer who

consclously seeks to deVelop expresslVe connectlons between poetry and muslc. By contrast, folk songs are usually transmltted by oral tradltlon and thelr creators are unknown.

Beat: the regular pulse underlylng the unfoldlng of muslc ln tlme. The rate at whlch the beat occurs

ls called tempo. See Chapter 1: Elements of Sound and Muslc.

Blue notes: steps ln the scale, usually the thlrd and seVenth, that are flattened, that ls, sllghtly lowered ln pltch, ln performlng blues.
Blues: see Chapter 6: Amerlcan Vernacular Muslc.
Brass lnstrument: see Chapter 2: Muslcal Instruments and Ensembles.
Brldge: a sectlon that connects two themes, often brlnglng about a modulatlon, as ln sonata form. See Chapter 1: Elements of Sound and Muslc.
Cadence: the termlnatlon of a muslcal statement, analogous to a polnt of punctuatlon ln prose. A

complete or full cadence ls characterlzed by the finallty of a perlod or exclamatlon polnt at the end of an lndependent clause whlle the need for completlon of a dependent clause, denoted by a comma or semlcolon ln prose, ls the muslcal equlValent of an lncomplete or half cadence.

Cadenza: passage near the end of an arla or concerto moVement performed by the sololst wlthout the

orchestra. The materlal of the cadenza ls lntended to show off the Vlrtuoslty of the sololst and ln some perlods was lmproVlsed.

Call and response: ln jazz, gospel, and other muslc lnfluenced by Afrlcan practlces, alternatlon between

two performlng entltles, most commonly a slngle performer and a group. See Chapter 6: Amerlcan Vernacular Muslc and Chapter 7: Jazz.

Cantata: from the Itallan “cantare” to slng, a genre of Vocal muslc based on elther a secular or rellglous

text set as recltatlVes and arlas, and sometlmes choruses. Cantatas may haVe dramatlc qualltles but are unstaged and are much shorter than operas and oratorlos.

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Chamber muslc: see Chapter 2: Muslcal Instruments and Ensembles.
Chance muslc: an approach to creatlng a unlque muslcal work ln whlch the composer lntentlonally rellnqulshes control oVer pltches, duratlons, and other essentlal muslcal elements. The performer(s) determlnes what wlll be played and how lt wlll be played by such means as tosslng dlce or colns.
Chant: monophonlc settlng of a sacred text. Chantlng by a sololst or a cholr ln unlson ls practlced

ln many rellglous tradltlons, lncludlng Judalsm, Chrlstlanlty, Islam, and Buddhlsm. The lntonlng of sacred texts proVldes a manner of dellVery that ls dlfferentlated from ordlnary speech and can helghten the mystery and splrltual atmosphere of rellglous rltual.

Cholr: a choral ensemble, especlally one that performs rellglous muslc, as ln a church cholr or a gospel

cholr. When applled to lnstruments, cholr ls usually synonymous wlth “sectlon,” as ln woodwlnd cholr, brass cholr.

Chord: three or more pltches soundlng together that produce harmony.
Chorus: when referrlng to performers, a chorus ls a Vocal ensemble. Choruses Vary greatly ln slze, from chamber-llke groups of elght to twelVe to a hundred or more slngers. The performance of choral muslc most commonly requlres sopranos, altos, tenors, and basses (see Chapter 2: Muslcal Instruments and Ensembles, sectlon on Human Volce as Instrument) but there ls also lmportant choral llterature for women, men, chlldren, and boys. The other use of the word chorus denotes a sectlon of a muslcal work, elther the refraln of a song or, ln a jazz composltlon, the harmonlc/melodlc theme and lts Varled repetltlons.
Coda: from the Latln for “tall,” a concludlng sectlon added to customary components of a muslcal

form.

Common practlce perlod: the tlme ln European art muslc between 1600 and 1900 when composers spoke, and audlences understood, a common muslcal language based on tonallty (keys) and standard lnstrumental forms. The Baroque perlod began thls era wlth refinements to the tonal system stlll ln progress, ln the Classlcal perlod tonal muslc and lnstrumental forms (such as sonata form) reached thelr hlghest leVel of deVelopment, and ln the Romantlc perlod these systems broke down as composers began to sacrlfice formal purlty ln exchange for personal expresslon ln thelr muslc.
Concerto: an orchestral work ln whlch the players are dlVlded lnto two groups, one conslstlng of one or more sololsts, the other belng the full orchestra (called the tuttl, meanlng all the players). The term concerto derlVes from an Itallan word that means both to joln together ln a cooperatlVe manner and also to contend competltlVely. Much of the effect of the concerto derlVes from the Vlrtuoslty of the sololst and from contrasts of dynamlcs, mass of sound, and tone color made posslble by the dlVlslon lnto dlfferently constltuted groups
Conjunct, dlsjunct: see Chapter 1: Elements of Sound and Muslc. Consonance, dlssonance: slmulta-

neous pltches that are experlenced as pleaslng or harmonlous wlthln a partlcular muslcal context are descrlbed as consonant whlle those experlenced as harsh or clashlng are descrlbed as dlssonant.

Contlnuo: ln Baroque muslc, both the bass llne that proVldes the harmonlc foundatlon and the lnstru-

ments that perform lt. At least two players are generally requlred for the performance the contlnuo part: a celllst for the wrltten-out bass llne, and a harpslchordlst or organlst who plays the bass llne wlth the left hand and lmproVlses harmonles wlth the rlght hand. The contlnuo sectlon ls somewhat analogous to the rhythm sectlon ln jazz.

Counterpolnt : prlnclples and rules used ln composlng multl-part muslc; adjectlVe, contrapuntal.
DeVelopment: ln a general sense, the manlpulatlon of muslcal materlal through such procedures as alterlng the melodlc and rhythmlc contours of a theme, statlng motlVes derlVed from a theme ln lmltatlon or repeated at dlfferent pltch leVels, statlng the theme ln dlfferent keys, and so on. In a more restrlcted sense, the sectlon ln a sonata form where muslcal ldeas from the exposltlon are manlpulated and elaborated.
Dlssonance: see Consonance.
Downbeat: the first beat ln a metrlc grouplng, or measure. Patterns of arm motlon used by the conductor slgnal the downbeat by a downward moVement of the arm.

Dynamlcs: degrees of loud and soft. Commonly used Itallan terms are forte (loud), plano (soft), crescendo (gettlng gradually louder), and decrescendo (gettlng gradually softer). See Chapter 1: Ele- ments of Sound and Muslc.
Ensemble: from the French for “together,” a group that performs together. Examples lnclude an or-

chestra, band, opera, and chorus as well as groups wlth ensemble ln thelr tltle, such as jazz ensemble, brass ensemble, and new muslc ensemble. In opera, an ensemble lnVolVes three or more sololsts slmul- taneously slnglng dlfferent words and melodles, each conVeylng hls or her Vlew of a partlcular dramatlc sltuatlon. See Chapter 2: Muslcal Instruments and Ensembles.

Eplsode: a passage between statements of a theme or subject, as ln a fugue or rondo.
Ethnomuslcology: from the Greek “ethno” (culture, people), the sclentlfic study of muslc of oral tradl- tlon, encompasslng trlbal and folk muslc, and of the art muslc produced by Varlous world cultures. The dlsclpllne, whose orlglns date back to the 1880s, draws on methodologles of muslcology, the scholarly study of Western art muslc, and anthropology, whose subject ls manklnd and human culture.
Exposltlon: the sectlon of a work ln whlch the prlnclpal thematlc materlal ls presented. See fugue and

sonata form.

Experlmental muslc: muslc where the outcome ls unknown untll the plece ls reallzed. Although the term dld not exlst when Charles IVes was actlVe as a composer, due to hls seVeral muslcal lnnoVatlons he ls seen today as the father of Amerlcan experlmental muslc. Important experlmental composers lnclude Henry Cowell, John Cage, Cornellus Cardew, Annea Lockwood, Meredlth Monk, Paullne OllVeros, and Laurle Anderson.
Expresslonlsm: an early 20th-century moVement that sought to reVeal through art the lrratlonal,

subconsclous reallty and repressed prlmordlal lmpulses postulated and analyzed ln the wrltlngs of Freud. See Chapter 5: European and Amerlcan Art Muslc slnce 1900.

Extended performance technlque: non-tradltlonal performance of an lnstrument (extended lnstrumen-

tal technlque) or use of the Volce (extended Vocal technlque) ln order to extend lts range and/or expand lts tlmbre palette. Thls term ls most often assoclated wlth Amerlcan experlmental muslc. It should be noted that a non-tradltlonal performance technlque ln one culture may be a tradltlonal performance method ln another.

Folk song: a song of unknown authorshlp that has been transmltted through oral tradltlon and usually

exlsts ln Varlous Verslons as a result of belng passed on oVer tlme. Compare art song. See Chapter 6: Amerlcan Vernacular Muslc.

Form: the structural aspect of muslc concerned wlth such factors as statement, repetltlon, contrast,

and deVelopment of muslcal materlal. See Chapter 1: Elements of Sound and Muslc.

Front llne: the members of a jazz ensemble whose prlnclpal functlon ls melodlc, ln contrast to the harmonlc, rhythmlc role of the rhythm sectlon. See Chapter 7: Jazz.
Fugue: tltle for a polyphonlc muslcal work that ls characterlzed by the deVelopment of a theme or sub-

ject through lmltatlon. Most fugues are composed for four “Volces,” or lndependent llnes ln the texture, commonly ldentlfied by thelr relatlVe ranges as soprano, alto, tenor, and bass. In the exposltlon, or openlng sectlon, the theme ls presented by one of the Volce parts alone and ls then taken up by each of the other Volce parts ln turn. As each new Volce enters, the others contlnue wlth counterpolntlng materlal and the texture becomes lncreaslngly dense. In the entrles-subsequent appearances of the theme ln one or more Volces-the theme may be stated ln new key areas or altered form, for example, wlth duratlons of the pltches longer or shorter. Entrles alternate wlth eplsodes ln whlch fragments or motlVes from the theme are deVeloped.

Gamelan: percusslon orchestra of Ball, JaVa, and other Indoneslan lslands. See Chapter 2: Muslcal

Instruments and Ensembles.

Gospel muslc: genre of Amerlcan rellglous muslc. See Chapter 6: Amerlcan Vernacular Muslc.
Harmony: the Vertlcal dlmenslon of multl-part muslc through whlch slmultaneous comblnatlons of tones produces chords and successlons of chords. See Chapter 1: Elements of Sound and Muslc.
Heterophony: a Varlant of monophonlc texture; adjectlVe heterophonlc. See Chapter 1: Elements of

Sound and Muslc.

Homophony: a muslcal texture comprlsed of two elements, a domlnatlng melody and supportlng ac- companlment; adjectlVe homophonlc. See Chapter 1: Elements of Sound and Muslc.
Imltatlon: the repetltlon, ln close successlon, of melodlc and/or rhythmlc materlal ln one part by

another part. See Chapter 1: Elements of Sound and Muslc.

Impresslonlsm: an artlstlc moVement of the late 19th and early 20th century ploneered by French palnters whose muted colors, blurred outllnes, and sensuous subjects lnfluenced contemporary poets and muslclans, most notably Claude Debussy.
ImproVlsatlon: extemporaneous creatlon of muslc. Many Western European composers were renowned

lmproVlsers (see for example blographles of Bach, BeethoVen, and Chopln) and the ablllty to lmproVlse ls essentlal ln such tradltlons as Indlan classlcal muslc, Afrlcan trlbal muslc, and some styles of jazz, where the performers are the composers and the performance ls the work. ImproVlsatlon often takes place wlthln establlshed conVentlons, lnVolVlng preexlstlng materlal that the performer ls expected to flesh out ln the course of performance. ImproVlsatlons are sometlmes recorded, or later wrltten down based on memory. See Chapter 3: Composer, Performer, Audlence and Chapter 7: Jazz.

Instruments/lnstrumental muslc: see Chapter 2: Muslcal Instruments and Ensembles.
InterVal: the dlstance between two pltches. Often expressed as a number of scale steps or as the ratlo of relatlVe frequencles. See Chapter 1: Elements of Sound and Muslc.
Jazz: see Chapter 7: Jazz.
Key: tonlc plus scale type, for example, G major, A mlnor. See Chapter 1: Elements of Sound and Muslc.
Mass: serVlce ln the Chrlstlan llturgy that culmlnates ln Holy Communlon, the re-creatlon of the Last

Supper of Jesus and hls dlsclples. Texts of the Mass haVe been set to muslc by composers from the Mlddle Ages through today.

Mellsma: ln Vocal muslc, a slngle syllable of text sung on a lengthy successlon of pltches.
Melody: successlon of muslcal tones that ls percelVed as constltutlng a meanlngful whole. See Chapter 1: Elements of Sound and Muslc.
Meter: organlzatlon of tlme ln whlch beats are arranged lnto recurrlng grouplngs of two’s, three’s, or

some comblnatlon of two’s and three’s. See Chapter 1: Elements of Sound and Muslc. Mode: scale type, determlned by the slze and successlon of lnterVals. Most muslc from the Western European tradltlon draws lts pltch materlal from the major and mlnor modes.

Modulatlon: change of key. See Chapter 1: Elements of Sound and Muslc.
MotlVe: a short figure of dlstlnctlVe melodlc or rhythmlc configuratlon that recurs throughout a com- posltlon or sectlon and functlons as a unlfylng element.
Monophony: slngle-llne melody; adjectlVe monophonlc. See Chapter 1: Elements of Sound and Muslc.
Muslc theory: rules and prlnclples of muslcal composltlon. Examples lnclude rules of counterpolnt assoclated wlth the Western European tradltlon, the prlnclples goVernlng the performance of raga and tala ln Indlan muslc, and practlces of harmony and scales ln jazz.
Muslcal theater: a play set to muslc for slngers and lnstruments and performed on the stage wlth

costumes and scenery. Dance ls an lmportant component of many muslcal theater works. Muslcal theater dlffers from opera ln that dlalogue ls spoken rather than sung ln recltatlVe.

Opera: a large-scale dramatlc productlon requlrlng solo slngers, an orchestra, costumes, scenery, and

often choruses and dancers. The word “opera,” ls the plural of “opus,” the Latln for “work,” suggestlng the multldlmenslonal nature of the form. Chlna, Japan, Indonesla, and Indla are among the world cultures that haVe rlch tradltlons comblnlng muslc wlth other theatrlcal elements and performance arts for ceremonles and entertalnment.

Oratorlo: slmllar to opera except that the subject ls rellglous and the stage performance ls wlthout

actlng, costumes, and scenery.

Orchestra: ln lts broadest sense, a large ensemble such as a symphony orchestra, marchlng band, and jazz band or orchestra. In addltlon to a slze of about 12 to oVer 100 players, other features of orchestral ensembles are the dlVlslon of the lnstruments lnto sectlons, dlrectlon of the ensemble by a conductor, and performance ln comparatlVely large Venues, such a concert halls or eVen outdoors. Counterparts to

Western orchestral ensembles lnclude the West Indlan steel pan orchestra and the gamelan of Indonesla. See Chapter 2: Muslcal Instruments and Ensembles.

Orchestratlon: the part of the creatlVe process that lnVolVes deslgnatlng partlcular muslcal materlal to

partlcular lnstruments.

Ostlnato: from the Itallan for obstlnate or perslstent, a clearly defined phrase or motlVe that ls repeated perslstently, usually at the same muslcal pltch and ln the same muslcal part, throughout a sectlon or passage.
OVerture: a self-contalned lnstrumental plece lntended as an lntroductlon to another work such as an

opera, oratorlo, or muslcal theater.

Percusslon lnstrument: see Chapter 2: Muslcal Instruments and Ensembles.
Performance artlst: an artlst that works ln two or more dlsclpllnes at once, one of those dlsclpllnes belng a performlng art. An example would be a sculptor creatlng set pleces to lnclude ln a theatrlcal performance of thelr own creatlon.
Performance practlce: the conVentlons and customs assoclated wlth the performance of a partlcular

muslcal repertory-for example, the lnstruments employed, technlques of slnglng, and the nature and extent of lmproVlsatlon that are expected. See Chapter 3: Composer, Performer, Audlence.

Phrase: a falrly complete muslcal ldea termlnated by a cadence, whlch ls comparable to a clause or

sentence ln prose. See Chapter 1: Elements of Sound and Muslc.

Pltch: the locatlon of a muslcal sound ln terms of hlgh and low. See Chapter 1: Elements of Sound and Muslc.
Polyphony: from the Greek “poly” for many and “phono” for sound or Volce, a muslcal texture comprlsed

of two or more slmultaneous melodles of falrly equal lmportance; adjectlVe polyphonlc. See Chapter 1: Elements of Sound and Muslc.

Polyrhythm: muslcal texture comprlsed of two or more slmultaneous and lndependent rhythmlc llnes;

adjectlVe polyrhythmlc. See Chapter 1: Elements of Sound and Muslc.

Prepared plano: the lnsertlon of forelgn objects (screws, bolts, erasers, plastlc, etc.) between the strlngs of a plano to alter lts tlmbre. See Appendlx 1: John Cage.
Program muslc: lnstrumental muslc that portrays a story, scene, or other nonmuslcal subject. Com-

posers generally ldentlfy the subject ln the tltle of the work. Compare absolute muslc.

Raga: an ascendlng and descendlng pattern of melodlc pltches used ln muslc of the Indlan subcontlnent. See Chapter 8: World Muslc.
Ragtlme: a genre of lnstrumental muslc from around the turn of the 20th century that ls an lmportant

predecessor of jazz. Most rags are for plano and are based on a steady one-two, or oom-pah, beat ln the left hand supportlng a hlghly syncopated melody ln the rlght hand. Scott Joplln was one of the most prollfic composers of plano rags.

RecltatlVe: a style of text settlng, found especlally ln operas and oratorlos, that closely follows the

rhythm and accents of speech. RecltatlVe ls used prlmarlly for narratlVe and dlalogue and ls character- lzed by melody of narrow range that follows the accents of the text, spare accompanlment, one pltch per syllable of text, llttle or no repetltlon of text.

Rhythm: the duratlonal and temporal dlmenslon of muslcal sounds. See Chapter 1: Elements of Sound

and Muslc. Rhythm sectlon: ln jazz, the lnstruments that keep the beat and proVlde harmonlc support. Common members of the rhythm sectlon are drum set, plano, strlng bass, and gultar.

Rltornello: from the Itallan for return, the openlng sectlon of a work, partlcularly of concertos and

arlas of the Baroque perlod, that recurs elther as a whole or ln part between sectlons of contrastlng materlal.

Rondo: a muslcal form lnVolVlng a prlnclpal theme that ls stated at least three tlmes ln the same

key and lnterVenlng subordlnate themes ln contrastlng keys. The rondo was a faVorlte deslgn of final moVements durlng the classlcal perlod.

Rubato: a practlce ln performance lnVolVlng changes ln tempo for expresslVe purposes.
Sampler: a deVlce that allows the user to dlgltally store, manlpulate, and play back recorded sounds.
Scale: arrangement of the pltch materlal of a plece of muslc ln order from low to hlgh (and sometlmes

from hlgh to low as well). Each element of a scale ls called a “step” and the dlstance between steps ls called an lnterVal. See Chapter 1: Elements of Sound and Muslc.

Score: the composlte of all parts of a notated composltlon arranged one underneath the others, each

on a dlfferent staff. Conductors work from scores whlle performers read only thelr partlcular part.

Serlallsm: a composltlonal method ln whlch the composer constructs a germlnal cell, usually a serles of pltches, whlch ls then repeated oVer and oVer ln Varlous permutatlons throughout the course of a work.
Solo: from the Itallan for alone, the term ls used for the part ln ensemble muslc that ls performed by a

slngle player (the sololst), such as the solo part ln a concerto, and also as descrlptlVe of muslc lntended to be performed by one player. In the Western tradltlon, the largest solo llterature ls for keyboard lnstruments or for members of the gultar famlly, all of whlch can create a complete muslcal texture wlthout the partlclpatlon of other lnstruments. There ls also a small solo repertory for unaccompanled Vlolln, flute, and other lnstruments that usually perform as part of an ensemble.

Sonata: from the Itallan “sonare” the Verb “to sound,” a common deslgnatlon for lnstrumental works

to be performed by one player, for example, plano sonata, or a small group of lnstrumentallsts, for example, sonata for Vlolln and plano.

Sonata form: a structural plan that eVolVed durlng the Classlcal perlod and has been used to the present

day as the deslgn of symphonlc, chamber, and solo moVements. A moVement ln sonata form conslsts of three sectlons: (1) exposltlon that presents two prlnclpal themes and key areas; (2) deVelopment ln whlch thematlc materlal from the exposltlon ls manlpulated, Varled, and elaborated; (3) recapltulatlon that restates the themes of the exposltlon, but both ln the home key. Thls baslc plan can be expanded to lnclude an lntroductlon and a coda. See Chapter 1: Elements of Sound and Muslc

Staff: the Western European system of horlzontal llnes and lnterVenlng spaces that has been used for

the notatlon of pltch slnce the Mlddle Ages.

Strlng lnstrument: see Chapter 1: Muslcal Instruments and Ensembles.
Strophlc: a muslcal form ln Vocal muslc ln whlch all Verses of text are sung to the same muslc.
Subject: a theme or melody that constltutes the baslc materlal of a composltlon, especlally a fugue.
Symphony: a tltle applled malnly to orchestral muslc from the Classlcal perlod to the present.
Syncopatlon: lrregular or unexpected stresses ln the rhythmlc flow. See Chapter 1: Elements of Sound and Muslc.
Tala: ln muslc of the Indlan subcontlnent, the sequence of beats that underlles contlnuous cycle of

rhythmlc lmproVlsatlons executed by a percusslon player. See Chapter 8: World Muslc.

Tempo: rate of speed ln muslc, often lndlcated by Itallan terms such as Allegro (fast), Andante (moderate, walklng pace), and Large (slow).
Texture: the quallty of a muslcal fabrlc wlth respect to the number and relatlonshlp of slmultaneous

muslcal eVents. See Chapter 1: Elements of Sound and Muslc.

Theme: muslcal materlal, often a melody, that functlons as a prlnclpal ldea for a muslcal work, comparable to the theme of an essay or speech. Fugues typlcally haVe one theme; works ln sonata form typlcally haVe two. Durlng the course of a work, the theme may recur ln lts entlrety or broken up lnto shorter motlVes, and lt may appear ln lts orlglnal form or wlth Varlatlons ln one or more of lts elements, such as rhythm, tempo, melodlc deslgn, orchestratlon, or key.
Tone color: the dlstlnctlVe sound quallty of a Volce or lnstrument. See Chapter 1: Elements of Sound

and Muslc.

Tonlc: the startlng pltch of a scale, also called keynote.
Tuttl: from the Itallan for all, the full ensemble. In a concerto, passages for the sololst alternate wlth sectlons for the tuttl.
Varlatlon: a broad concept encompasslng a number of procedures that modlfy muslcal materlal. Or-

namentatlon or decoratlon of a melody, repetltlon of a theme wlth dlfferent orchestratlon or at a dlfferent tempo, reharmonlzatlon of a theme, lncludlng modulatlon from major to mlnor or Vlce Versa are common technlques.

Vlbrato: waVerlng or fluctuatlon of pltch.

Vlrtuoso: ln general, a person of extraordlnary sklll and knowledge. In muslc, a hlghly accompllshed muslclan.
Volce/Vocal muslc: see Chapter 2: Muslcal Instruments and Ensembles.
Word palntlng: ln Vocal muslc, muslcal representatlon of lndlVldual words and textual lmages, for example, the use of hlgh pltches for words llke sky, low pltches for words llke deep, and ascendlng pltches for rlse.
Woodwlnd lnstrument: see Chapter 2: Muslcal Instruments and Ensembles.

Index of Keywords and Terms

Keywords are llsted by the sectlon wlth that keyword (page numbers are ln parentheses). Keywords do not necessarlly appear ln the text of the page. They are merely assoclated wlth that sectlon. Ex. apples, § 1.1 (1) Terms are referenced by the page they appear on. Ex. apples, 1

A a cappella, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Aaron Copland, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Absolute muslc, § 9(57), § 10(63), § 11(73),

§ 12(103)

Accent, § 9(57), § 10(63), § 11(73), § 12(103)

Accompanlment, § 9(57), § 10(63), § 11(73),

§ 12(103)

Aerophones, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Afrlcan drum ensemble, § 2(5), § 4(15),

§ 5(21), § 6(25), § 7(43), § 9(57), § 10(63),

§ 11(73)

alto, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Amerlcan art muslc, § 7(43) Amerlcan Vernacular Muslc, § 8(49)

Antonln DVorak, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Antonlo VlValdl, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Appreclatlon, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Arla, § 9(57), § 10(63), § 11(73), § 12(103)

Arnold Schoenberg, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Art, § 2(5), § 6(25), § 7(43)

Art song, § 9(57), § 10(63), § 11(73), § 12(103)

Astor Plazzolla, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

B B. B. Klng, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

balalalka, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

bamboo flute, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

barltone, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

bass, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

bass drum, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

bassoon, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Beat, § 9(57), § 10(63), § 11(73), § 12(103)

Bela Bartok, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Benny Goodman, § 7(43)

Bessle Smlth, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Blll Haley, § 7(43) Blllle Hollday, § 7(43)

Blue notes, § 9(57), § 10(63), § 11(73),

§ 12(103)

Blues, § 9(57), § 10(63), § 11(73), § 12(103)

Bob Dylan, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Bob Marley, § 7(43)

brass, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

brass bowl, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Brass lnstrument, § 9(57), § 10(63), § 11(73),

§ 12(103)

brass sectlon, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Brldge, § 9(57), § 10(63), § 11(73), § 12(103)

Brooklyn College, § 2(5), § 3(7), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

brooklyn college conserVatory, § 2(5), § 3(7),

§ 5(21), § 6(25), § 7(43), § 9(57), § 10(63),

§ 11(73)

Brooklyn College Llbrary, § 2(5), § 2(5),

§ 3(7), § 5(21), § 5(21), § 6(25), § 6(25),

§ 7(43), § 9(57), § 9(57), § 10(63), § 10(63),

§ 11(73), § 11(73)

Brooklyn Phllharmonlc, § 2(5), § 4(15),

§ 5(21), § 6(25), § 7(43), § 9(57), § 10(63),

§ 11(73)

C Cadence, § 9(57), § 10(63), § 11(73), § 12(103)

Cadenza, § 9(57), § 10(63), § 11(73), § 12(103)

Call and response, § 9(57), § 10(63), § 11(73),

§ 12(103)

Cantata, § 9(57), § 10(63), § 11(73), § 12(103)

castanets, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

cello, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Chamber Ensemble, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Chamber muslc, § 9(57), § 10(63), § 11(73),

§ 12(103)

Chamber Orchestra, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Chance muslc, § 9(57), § 10(63), § 11(73),

§ 12(103)

Chant, § 9(57), § 10(63), § 11(73), § 12(103)

Charles IVes, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Charles Mlngus, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Charlle Parker, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

chlmes, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Cholr, § 9(57), § 10(63), § 11(73), § 12(103)

Chordophones, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

chorus, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 9(57), § 10(63), § 10(63),

§ 11(73), § 11(73), § 12(103)

Clara Wleck Schumann, § 2(5), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

clarlnet, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Classlcal, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Coda, § 9(57), § 10(63), § 11(73), § 12(103)

Common practlce perlod, § 9(57), § 10(63),

§ 11(73), § 12(103)

Concerto, § 9(57), § 10(63), § 11(73), § 12(103)

Conjunct, § 9(57), § 10(63), § 11(73), § 12(103)

Consonance, § 9(57), § 10(63), § 11(73),

§ 12(103)

contlnuo, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

contra tenor, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

copyrlght, § 1(2)

counter tenor, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Counterpolnt, § 9(57), § 10(63), § 11(73),

§ 12(103)

coVer, § 1(2)

cymbals, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

D DeVelopment, § 9(57), § 10(63), § 11(73),

§ 12(103)

dlsjunct, § 9(57), § 10(63), § 11(73), § 12(103)

dlssonance, § 9(57), § 9(57), § 10(63), § 10(63),

§ 11(73), § 11(73), § 12(103), § 12(103)

Dlzzy Glllesple, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Dmltry ShostakoVlch, § 7(43)

double bass, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

douglas cohen, § 2(5), § 2(5), § 3(7), § 5(21),

§ 5(21), § 6(25), § 6(25), § 7(43), § 7(43),

§ 9(57), § 10(63), § 11(73)

Downbeat, § 9(57), § 10(63), § 11(73),

§ 12(103)

drums, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Duke Elllngton, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Dynamlcs, § 9(57), § 10(63), § 11(73),

§ 12(103)

Earl Hlnes, § 7(43)

Edgard Varese, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Electrophones, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Elements of Muslc, § 2(5), § 3(7), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

ElVls Presley, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Ensemble, § 9(57), § 10(63), § 11(73),

§ 12(103)

Ensembles, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Eplsode, § 9(57), § 10(63), § 11(73), § 12(103)

Ethnomuslcologlst, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

European, § 2(5), § 6(25), § 7(43) European art muslc, § 7(43) Experlmental muslc, § 9(57), § 10(63),

§ 11(73), § 12(103)

Exposltlon, § 9(57), § 10(63), § 11(73),

§ 12(103)

Expresslonlsm, § 9(57), § 10(63), § 11(73),

§ 12(103)

Extended performance technlque, § 9(57),

§ 10(63), § 11(73), § 12(103)

flute, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Folk song, § 9(57), § 10(63), § 11(73),

§ 12(103)

Form, § 9(57), § 10(63), § 11(73), § 12(103)

Frank Zappa, § 7(43)

Franz Joseph Haydn, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Franz Schubert, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Frederlc Chopln, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

French horn, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Frequency, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Front llne, § 9(57), § 10(63), § 11(73),

§ 12(103)

Fugue, § 9(57), § 10(63), § 11(73), § 12(103)

gamelan, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 9(57), § 10(63), § 10(63),

§ 11(73), § 11(73), § 12(103)

Genre, § 2(5), § 3(7), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

George Frederlc Handel, § 2(5), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

George Gershwln, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Glacomo Pucclnl, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Gluseppe Verdl, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

glossary, § 12(103)

gong, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

gospel cholr, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Gospel muslc, § 9(57), § 10(63), § 11(73),

§ 12(103)

gourd rattles, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

gultar, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Handel, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Harmony, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

harp, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

harpslchord, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Heterophony, § 9(57), § 10(63), § 11(73),

§ 12(103)

Homophony, § 9(57), § 10(63), § 11(73),

§ 12(103)

Human Volce, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Idlophones, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Igor StraVlnsky, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Imltatlon, § 9(57), § 10(63), § 11(73), § 12(103)

Impresslonlsm, § 9(57), § 10(63), § 11(73),

§ 12(103)

ImproVlsatlon, § 9(57), § 10(63), § 11(73),

§ 12(103)

Indlan ragas, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Indoneslan gamelan, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Instruments, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Instruments/lnstrumental muslc, § 9(57),

§ 10(63), § 11(73), § 12(103)

InterVal, § 9(57), § 10(63), § 11(73), § 12(103)

Introductlon, § 2(5)

Jazz, § 8(49), § 9(57), § 10(63), § 11(73),

§ 12(103)

jazz band, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

jazz qulntet, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Johann Sebastlan Bach, § 2(5), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

John Cage, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

John Coltrane, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

John Lennon, § 7(43)

Josquln des Prez, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

kettledrums, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Key, § 9(57), § 10(63), § 11(73), § 12(103)

keyboard, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

keys, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

koto, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Laurle Anderson, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Leonard Bernsteln, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Lllllan Hardln, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Louls Armstrong, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Ludwlg Van BeethoVen, § 2(5), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

M Mahalla Jackson, § 7(43)

marchlng band, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

marlmba, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Mass, § 9(57), § 10(63), § 11(73), § 12(103)

materlal, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Mellsma, § 9(57), § 10(63), § 11(73), § 12(103)

Melody, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

Membranophones, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Meredlth Monk, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Meter, § 9(57), § 10(63), § 11(73), § 12(103)

Metropolltan Opera, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

mezzo soprano, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Mlchael Jackson, § 7(43)

Mlddle Ages, § 2(5), § 6(25), § 7(43)

Mlles DaVls, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Mode, § 9(57), § 10(63), § 11(73), § 12(103)

Modulatlon, § 9(57), § 10(63), § 11(73),

§ 12(103)

Monophony, § 9(57), § 10(63), § 11(73),

§ 12(103)

MotlVe, § 9(57), § 10(63), § 11(73), § 12(103)

Muslc, § 2(5), § 3(7), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

muslc 1300, § 2(5), § 5(21), § 6(25), § 7(43),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

Muslc Appreclatlon, § 2(5), § 3(7), § 4(15),

§ 5(21), § 6(25), § 7(43), § 9(57), § 10(63),

§ 11(73), § 12(103)

Muslc theory, § 9(57), § 10(63), § 11(73),

§ 12(103)

Muslcal theater, § 9(57), § 10(63), § 11(73),

§ 12(103)

Muslclan Blographles, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

N New York Clty Opera, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

New York Phllharmonlc, § 2(5), § 4(15),

§ 5(21), § 6(25), § 7(43), § 9(57), § 10(63),

§ 11(73)

O oboe, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Opera, § 9(57), § 10(63), § 11(73), § 12(103)

Oratorlo, § 9(57), § 10(63), § 11(73), § 12(103)

Orchestra, § 9(57), § 10(63), § 11(73),

§ 12(103)

Orchestratlon, § 9(57), § 10(63), § 11(73),

§ 12(103)

organ, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Ostlnato, § 9(57), § 10(63), § 11(73), § 12(103)

OVerture, § 9(57), § 10(63), § 11(73), § 12(103)

P pads, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Paul Robeson, § 7(43)

percusslon, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Percusslon lnstrument, § 9(57), § 10(63),

§ 11(73), § 12(103)

Performance artlst, § 9(57), § 10(63), § 11(73),

§ 12(103)

Performance practlce, § 9(57), § 10(63),

§ 11(73), § 12(103)

Performance technlque, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Pete Seeger, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Phrase, § 9(57), § 10(63), § 11(73), § 12(103)

plano, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

plano trlo, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Pltch, § 9(57), § 10(63), § 11(73), § 12(103)

pltch spectrum, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

plzzlcato, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Polyphony, § 9(57), § 10(63), § 11(73),

§ 12(103)

Polyrhythm, § 9(57), § 10(63), § 11(73),

§ 12(103)

Pop, § 8(49)

Prepared plano, § 9(57), § 10(63), § 11(73),

§ 12(103)

Program muslc, § 9(57), § 10(63), § 11(73),

§ 12(103)

R Raga, § 9(57), § 10(63), § 11(73), § 12(103)

Ragtlme, § 9(57), § 10(63), § 11(73), § 12(103)

Range, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Rap, § 8(49)

RaVl Shankar, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

RecltatlVe, § 9(57), § 10(63), § 11(73),

§ 12(103)

reed sectlon, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Reggae, § 8(49)

Rhythm, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

rhythm sectlon, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 9(57), § 10(63),

§ 10(63), § 11(73), § 11(73), § 12(103)

Rltornello, § 9(57), § 10(63), § 11(73),

§ 12(103)

Rock, § 8(49)

Romantlc, § 2(5), § 6(25), § 7(43)

Romantlclsm, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Rondo, § 9(57), § 10(63), § 11(73), § 12(103)

Rubato, § 9(57), § 10(63), § 11(73), § 12(103)

Ruth Crawford Seeger, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

S Sampler, § 9(57), § 10(63), § 11(73), § 12(103)

saxophone, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Scale, § 9(57), § 10(63), § 11(73), § 12(103)

Score, § 9(57), § 10(63), § 11(73), § 12(103)

Scott Joplln, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Sergel ProkofieV, § 7(43)

Serlallsm, § 9(57), § 10(63), § 11(73), § 12(103)

shofar, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

sltar, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

snare drum, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Solo, § 9(57), § 10(63), § 11(73), § 12(103)

Sonata, § 9(57), § 10(63), § 11(73), § 12(103)

Sonata form, § 9(57), § 10(63), § 11(73),

§ 12(103)

soprano, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Staff, § 9(57), § 10(63), § 11(73), § 12(103)

steel drums, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Stephen Sondhelm, § 7(43)

SteVe Relch, § 2(5), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

strlng famlly, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

strlng quartet, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Strophlc, § 9(57), § 10(63), § 11(73), § 12(103)

Style, § 2(5), § 3(7), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Subject, § 9(57), § 10(63), § 11(73), § 12(103)

symphony orchestra, § 2(5), § 4(15), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Symphony., § 9(57), § 10(63), § 11(73),

§ 12(103)

Syncopatlon, § 9(57), § 10(63), § 11(73),

§ 12(103)

T Tala, § 9(57), § 10(63), § 11(73), § 12(103)

tambourlne, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Tempo, § 9(57), § 10(63), § 11(73), § 12(103)

tenor, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Texture, § 9(57), § 10(63), § 11(73), § 12(103)

Thelonlus Monk, § 2(5), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Theme, § 2(5), § 3(7), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73), § 12(103)

tlmbre, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

tlmpanl, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

tltle page, § 1(2) TOC, § 1(2)

Tone Color, § 2(5), § 2(5), § 3(7), § 4(15),

§ 5(21), § 5(21), § 6(25), § 6(25), § 7(43),

§ 7(43), § 9(57), § 9(57), § 10(63), § 10(63),

§ 11(73), § 11(73)

Tonlc, § 9(57), § 10(63), § 11(73), § 12(103)

trlangle, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

trombone, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

trumpet, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

tuba, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Tuttl, § 9(57), § 10(63), § 11(73), § 12(103)

V Varlatlon, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73), § 12(103)

Vlbrato, § 9(57), § 10(63), § 11(73), § 12(103)

Vlola, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Vlolln, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Vloloncello, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

Vlrtuoso, § 9(57), § 10(63), § 11(73), § 12(103)

Vocal muslc, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

W WaVeform, § 2(5), § 3(7), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

West Indlan steel pan orchestra, § 2(5),

§ 4(15), § 5(21), § 6(25), § 7(43), § 9(57),

§ 10(63), § 11(73)

Western Categorles of Instruments, § 2(5),

§ 4(15), § 5(21), § 6(25), § 7(43), § 9(57),

§ 10(63), § 11(73)

wlnd qulntet, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

wlnds, § 2(5), § 4(15), § 5(21), § 6(25), § 7(43),

§ 9(57), § 10(63), § 11(73)

Wolfgang Amadeus Mozart, § 2(5), § 5(21),

§ 6(25), § 7(43), § 9(57), § 10(63), § 11(73)

Woodwlnd lnstrument, § 9(57), § 10(63),

§ 11(73), § 12(103)

Woody Guthrle, § 7(43)

Word palntlng, § 9(57), § 10(63), § 11(73),

§ 12(103)

World Muslc, § 10(63)

X xylophone, § 2(5), § 4(15), § 5(21), § 6(25),

§ 7(43), § 9(57), § 10(63), § 11(73)

116ATTRIBUTIONS

Attributions

Collectlon: Music Appreciation: Its Language, History and Culture Edlted by: Douglas Cohen, Emlly Falrey, mlrlam deutch

URL: http://cnx.org/content/col11803/1.1/

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “CoVer and Frontmatter” By: Emlly Falrey

URL: http://cnx.org/content/m55729/1.1/ Pages: 2-3

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Introductlon” By: Emlly Falrey

URL: http://cnx.org/content/m55722/1.1/ Pages: 5-6

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 1: Elements of Muslc” By: Emlly Falrey, Douglas Cohen

URL: http://cnx.org/content/m55670/1.2/ Pages: 7-14

Copyrlght: Emlly Falrey, Douglas Cohen

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 2: Muslcal Instruments and Ensembles” By: Emlly Falrey

URL: http://cnx.org/content/m55724/1.1/ Pages: 15-20

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 3: Composer, Performer, Audlence” By: Emlly Falrey

URL: http://cnx.org/content/m55730/1.1/ Pages: 21-23

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 4: European Art Muslc: Mlddle Ages to Romantlc” By: Emlly Falrey

URL: http://cnx.org/content/m55721/1.1/ Pages: 25-41

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 5: European and Amerlcan Art Muslc slnce 1900” By: Emlly Falrey

URL: http://cnx.org/content/m55732/1.1/ Pages: 43-48

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 6: Amerlcan Vernacular Muslc” By: Emlly Falrey

URL: http://cnx.org/content/m55737/1.1/ Pages: 49-56

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 7: Jazz” By: Emlly Falrey

URL: http://cnx.org/content/m55739/1.1/ Pages: 57-61

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Chapter 8: World Muslc” By: Emlly Falrey

URL: http://cnx.org/content/m55740/1.1/ Pages: 63-71

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Appendlx 1: Muslclan Blographles” By: Emlly Falrey

URL: http://cnx.org/content/m55802/1.1/ Pages: 73-102

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Module: “Appendlx 2: Glossary” By: Emlly Falrey

URL: http://cnx.org/content/m55734/1.1/ Pages: 103-109

Copyrlght: Emlly Falrey

Llcense: http://creatlVecommons.org/llcenses/by/4.0/

Music Appreciation: Its Language, History and Culture

Muslc 1300 ls a slte for students of Muslc Appreclatlon, both at Brooklyn College and around the world. The textbook for Muslc Appreclatlon ls presented here, lncludlng lts pdf, e-pub, and llnked medla.

About OpenStax-CNX

Rhaptos ls a web-based collaboratlVe publlshlng system for educatlonal materlal.

13 Appendix 2: Glossaryl