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INSTRUCTOR’S MANUAL

CHAPTER 2

RHYTHM, MELODY, HARMONY

LECTURE IDEAS

HARMONY

BEAT

In order to help students differentiate between rhythm and beat, ask them to try tapping a rhythm pattern with their foot. They will immediately realize our natural perception of beat, and that it is different from shifting rhythmic patterns. Have them practice finding the beat with the following examples. Vivaldi, Concerto in E major, I “The Spring” (CD 1/25)1

Mozart, Symphony No. 40, I (CD 2/15) Musorgsky, Pictures at an Exhibition, “Promenade” (CD 3/22)

METER

This is a difficult concept for students without a musical background. Teach them the conducting patterns for duple and triple meter and have the class practice with a few examples. They should observe the following routine:

Establish the beat before determining the metrical structure. Listen for the accented note, which will identify the downbeat. They should pay

particular attention to the bass, since it often accentuates the downbeat. Conduct the patterns. (It is sometimes helpful, once the correct pattern has been

established, to show how odd it feels to conduct a duple meter composition with a ternary pattern.)

When going over the examples below, make certain that students write down the examples for review at a later point in time. If they will be responsible for identifying the metrical structure of listening examples on an exam, it is best to let them know at this point in time.

Duple examples Vivaldi, Concerto in E major, I “The Spring,” (CD 1/25) Mozart, Eine kleine Nachtmusik (A Little Night Music), I (CD 2/8) Copland, Appalachian Spring, VII (CD 5/21) Handel, “Hallelujah” Chorus from Messiah (Intro CD/18)1 Unless otherwise specified, the CD tracks reference the 5-CD set for “Listening to Music” 7e

Full file at http://emailtestbank.com/ Test-Bank-for-Listening-to-Music-7th-Edition--by-Craig-Wright

Monteverdi, “Toccata from Orfeo” (CD 1/15)

Triple examples

Handel, Water Music, Minuet and Trio (CD 2/3) Bach, Wachet auf, ruft uns die Stimme (Awake, A Voice is Calling), I (CD 1/30) Josquin, Ave Maria (CD 1/9; 2:26-3:00) Verdi, “Un di felice” from La Traviata (CD 4/7)

SYNCOPATION

There are numerous examples in the CD set, including the following:

Machaut, “Kyrie” from Messe de Nostre Dame (CD 1/4; 0:18-0:20) Mozart, Eine kleine Nachtmusik (A Little Night Music), III (CD 2/11) Haydn, Symphony No. 94, II (Intro CD/23; 4:22-5:11) Brahms, Wiegenlied (Lullaby) (in accompaniment, Intro CD/20)

DISCUSSION QUESTIONS

1. Listen to the third movement of Haydn’s Symphony No. 94, the “Surprise” (CD 2/12; 0:00-0:34).

What is the meter of this example? Is it the melody, the bass line, or the two together that accent the downbeats? Compare it with Viderunt omnes (CD 1/1). Is there a metrical structure to this

latter composition or is it simply a succession of beats?

2. Listen while Alfredo sings the opening section of “Un di felice” from La traviata (CD 4/7). Is the meter regular while the tempo is treated with great flexibility or is the tempo regular while the number of beats per measure constantly change?

MELODY

For a comparison between major and minor, have students listen to the third and fourth ritornello sections in Vivaldi’s “Spring” Concerto (CD 1/25). While the third ritornello is in B major and the fourth in C# minor, the violin line offers a pretty clear distinction in the mode.

In addition to Beethoven’s Ode to Joy, antecedent and consequent phrases can also be heard in the first theme of Mozart’s A Little Night Music (I; CD 2/8 0:00-0:30). Phrase a and c are subdivided into antecedent and consequent phrases while phrase c also functions as a consequent to the antecedent phrase b. This is an interesting example of a phrase serving a dual purpose: the subdivided phrases balance the structure of phrase a while matching the weight of phrase b.


Play the following passages and have students determine whether the melodies are diatonic or chromatic. They may not be able verbalize their reason but may nevertheless be able to determine the correct answer.

Haydn, Concerto for Trumpet and Orchestra in E-flat major, III (CD 2/14) Bizet, Carmen, Habanera (CD 4/17) Debussy, Prelude to the Afternoon of a Faun (CD 5/6, 0:00-0:57) Copland, Appalachian Spring, VII, (CD 5/21 1:00-1:40)

Students may also find it intriguing to determine the emotional mood of different melodies and what the music does to establish that mood. They need to consider aspects such as tempo, rhythm, timbre, etc. Some of the following selections offer vivid contrasts:

Handel, “He shall feed his flock” from Messiah (CD 2/5) Bach, Brandenburg Concerto No. 5, I (CD 1/27) Tchaikovsky, Romeo and Juliet, “Love Theme” (CD 3/20; 2:58-3:53) Musorgsky, Pictures at an Exhibition, “Great Gate of Kiev (CD 4/1) Bizet, Carmen, Habanera (CD 4/17) Wagner, Die Walküre, “Ride of the Valkyries” (CD 4/13)

HARMONY

This topic of harmony can quickly become needlessly complex. Students should be familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style.

Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between chordal and arpeggiated accompaniment, although in this particular recording it is so rushed that students may have difficulty in perceiving the difference. (This song also demonstrates the contrast between major and minor). For an example of a composition featuring nothing but arpeggiated chords, play Bach’s Prelude in C Major from WTC I.

To illustrate different tonal centers, play the ritornello sections of Vivaldi’s “Spring” Concerto (CD 1/25). Note that for the first two ritornello statements, the key is the same. The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the intervening solo sections.

TEST BANK

IDENTIFICATION


Select the term that fits the description. Terms may be used more than once.accent meterbar lines meter signature (time signature)bass clef minor scalebeat modecadence modulationcanon octavechord ostinatochord progression pickupchromatic scale pitchclef restconsonance rhythmdissonance ritarddominant scaledoo-wop sharpdownbeat staffduple meter syncopationflat tempogreat staff (grand staff) tonality (key)harmony tonicinterval treble clefmajor scale triadmeasure (bar) triple metermelody

1. ____________________ Term describing a type of score that combines the two clefs and is used primarily by keyboard players.ANSWER: great staff

2. ____________________ It is an even pulse that divides the passing of musical time into equal segments.ANSWER: beat

3. ____________________ A rhythm, melody, or harmony that repeats continually.ANSWER: ostinato

4. ____________________ The element that adds depth and dimension to music.ANSWER: harmony

5. ____________________ Term that defines the distance between the notes of a chord.ANSWER: interval

6. ____________________ This combination of pitches sounds harsh and jarring, resulting in a harmonic tension that ultimately seeks resolution.ANSWER: dissonance

7. ____________________ Scale generally associated with positive emotions.ANSWER: major scale

8. ____________________ Term that describes changing from one key to another within a composition.ANSWER: modulation

9. ____________________ An arrangement of pitches that ascend and descend in a fixed


unvarying pattern.ANSWER: scale

10. ___________________ Portion of a musical phrase that leads to its last chord.ANSWER: cadence

11. ___________________ Term that describes placing an accent on a weak beat or between the beats.ANSWER: syncopation

12. ___________________ Derived from the Greek word for “color,” it describes a scale that utilizes all twelve notes contained within the octave.ANSWER: chromatic scale

13. ___________________ The clef indicating that melodies are to be sung or played in the lower range.ANSWER: bass clef

14. ___________________ A chord consisting of one third placed on top of another third.ANSWER: triad

15. ___________________ Metrical pattern consisting of three beats per bar.ANSWER: triple meter

16. ___________________ Term that describes a tonal center built on a tonic note and making use of a scale.ANSWER: tonality (key)

17. ___________________ The basic unit of beat in most music.ANSWER: quarter note

18. ___________________ Chord giving the greatest impetus toward the tonic.ANSWER: dominant

19. ___________________ Sounds that provide support and accompaniment to the melody.ANSWER: harmony

20. ___________________ The distance between any two pitches on a musical scaleANSWER: interval

21. ___________________ A pattern of whole and half steps. In Western musical tradition these steps have been organized into two patterns, forming the basis for most classical and popular compositions.ANSWER: mode

22. ___________________ Negative feelings such as sorrow, fear, and despair are generally associated with this scale.ANSWER: minor scale

23. ___________________ Symbol raising a note to the one immediately above it.ANSWER: sharp

24. ___________________ A unit of two or more pitches that sound at the same time.ANSWER: chord

25. ___________________ Which clef signifies that the melody is to be played or sung in the


upper range, either by a high instrument or a woman’s voice?ANSWER: treble clef

26. ____________________ One of two terms that informs the performer how many beats will occur in each measure.ANSWER: meter signature or time signature

27. ___________________ Organization of time in music.ANSWER: rhythm

28. ___________________ The triad built on the fifth degree of the scale.ANSWER: dominant

29. ___________________ A group of beats, usually between two and four, is called a:ANSWER: measure or bar

30. ___________________ The relative position, either high or low, of a musical sound.ANSWER: pitch

31. ___________________ The basic chord in music; it consists of a specific arrangement of three pitches.ANSWER: triad

32. ___________________ The first beat of a measure.ANSWER: downbeat

33. ___________________ Term for the gathering of beats into groups, usually between two and four.ANSWER: meter

34. ___________________ _____ is a style of music that emerged during the mid-twentieth century that featured a cappella singing, repeating phrases, and brief chord progressions.ANSWER: doo-wop

35. ___________________ A group of beats providing metrical organization.ANSWER: measure or bar

36. ___________________ The speed at which beats occur.ANSWER: tempo

37. ___________________ Beat which normally receives the strongest accent.ANSWER: downbeat

38. ___________________ The grid of lines and spaces facilitating the precise notation of pitch.ANSWER: staff

39. ___________________ The extra five notes of this scale provide greater melodic intensity.ANSWER: chromatic scale

40. ___________________ Symbol signifying that the pitch is to be lowered to the one immediately below it.ANSWER: flat

41. ___________________ The movement of chords in a purposeful manner.ANSWER: chord progression


42. ___________________ Melodies revolve around this central tone.ANSWER: tonic

43. ___________________ A gradual slowing of the tempo.ANSWER: ritard

44. ___________________ A recognizable and memorable series of notes.ANSWER: melody

45. ___________________ Combination of pitches that sound agreeable and stable, producing a sense of rest.ANSWER: consonance

46. ___________________ Metrical pattern consisting of two beats per bar.ANSWER: duple meter

47. ___________________ Term that means to emphasize a particular beat.ANSWER: accent

48. ___________________ General term for the designation appearing on the staff that indicates the range in which the melody is to be sung.ANSWER: clef

49. ___________________ The interval that results when a pitch is duplicated at a higher or lower level.ANSWER: octave

50. ___________________ The musical element that provides a shape or profile to the melody.ANSWER: rhythm

51. ___________________ A silence in music of a specific duration.ANSWER: rest

52. ___________________ A contrapuntal form in which the individual voices enter and each in turn duplicates exactly the melody that the first voice played or sang.ANSWER: canon

MULTIPLE CHOICE

1. The term, referring to the organization of time in music, gives shape to the pitches of the melody.a. accentb. rhythmc. meterd. harmonye. syncopation

ANSWER: b

2. What is the term for the even pulse that divides the passing of musical time into equal segments?a. measureb. tempoc. phrase


d. beate. ritard

ANSWER: d

3. Which term means the speed at which beats progress?a. tempob. syncopationc. accentd. dissonancee. homophony

ANSWER: a

4. What is the English word that means to slow the tempo of the music?a. syncopationb. pickupc. downbeatd. ritarde. score

ANSWER: d

5. Which term best describes what is happening in the music example. a. ritardb. tempoc. syncopationd. modee. modulation

ANSWER: a [Handel. Water Music, Minuet, CD 2/3 0:19-0:27]

6. The downbeat is:a. the strongest beat in any given measureb. the first beat in a measurec. more accented than other beatsd. indicated by a downward movement of the conductor’s hande. all of the above

ANSWER: e

7. What is the term for the emphasis or stress placed on a musical tone or chord?a. allegrob. tempoc. beatd. accente. all of the above

ANSWER: d

8. When beats are gathered into regular groups, what is the result?a. meterb. rhythmc. ritardd. upbeatse. tempo


ANSWER: a

9. Which term is synonymous with “measure”?a. meter signatureb. barc. syncopationd. downbeate. phrase

ANSWER: b

10. What is the term for a group of beats?a. rhythmb. tempoc. consonanced. meter signaturee. measure

ANSWER: e

11. In a meter signature (or time signature), what does the top number tell the performer?a. how fast the beats should gob. how many lines there are in the texturec. what note value receives the beatd. how many beats there are per measuree. how many measures there are in the composition

ANSWER: d

12. Identify the meter of the listening example. a. dupleb. triple

ANSWER: b [Corelli, Trio Sonata in C minor, CD 1/22 0:00-0:28]

13. Identify the meter of the listening example (it begins with an upbeat). a. dupleb. triple

ANSWER: a [Monteverdi, Orfeo, Toccata, CD 1/15, 0:00-0:31]


ANSWER: a [Corelli, Trio Sonata in C minor, CD 1/22, 0:00-0:44]


ANSWER: b [Haydn, “Surprise” Symphony, third movement; CD 2/10, 0:00-0:34]

16. Identify the term that indicates the absence of sound.a. accent


b. ostinatoc. restd. dissonancee. style

ANSWER: c

17. Term for the note or two that occurs at the very beginning of a piece that provides a little extra momentum into the first downbeat.a. pickupb. hookc. syncopationd. phrasee. cadence

ANSWER: a

18. Does this listening example, in triple meter, begin with a pickup or on the downbeat? a. it begins with a pickupb. it begins on the downbeat

ANSWER: a [Verdi, La Traviata, «Un di felice, CD 4/1 0:00-0:08]

19. Which term describes placing an accent on a weak beat or between the beats?a. ritardb. tempoc. syncopationd. triade. pickup

ANSWER: c

20. Which term describes the predominant musical technique heard in the listening example? a. motiveb. syncopationc. ritardd. allegrettoe. imitative polyphony

ANSWER: b [Haydn, Symphony No. 94, second movement; Intro CD/22 4:22-5:11]

21. Which definition is appropriate to melody?a. a recognizable and memorable series of notes that form a cohesive musical lineb. an arrangement of pitches that ascend and descend in a fixed, unvarying patternc. the movement of music through timed. a short, distinctive figuree. the element that adds depth and dimension to music

ANSWER: a

22. What is “pitch”?a. a short, distinctive figureb. the speed of the beatc. the relative position, high or low, or a musical soundd. the tonal center of the scalee. the concluding part of a musical phrase


ANSWER: c

23. What is the term for the interval that comprises the first and eighth tones of the major and minor scales? Their sounds are quite similar because the frequency of vibration of the higher pitch is exactly twice that of the lower.a. clefb. antecedentc. ritardd. octavee. natural

ANSWER: d

24. The octave is a feature of all musical cultures, although each culture subdivides the pitches within the octave differently.a. trueb. false

ANSWER: a

25. Which symbol raises a note to the next higher neighboring tone?a. leapb. naturalc. sharpd. modee. key

ANSWER: c

26. Symbols that correspond to the black keys of the keyboard are known as:a. consonance and dissonanceb. sharps and flatsc. antecedents and consequentsd. timbre and tone colore. motives and cadences

ANSWER: b

27. The distance between two pitches in music is called __________.a. motiveb. intervalc. moded. tonalitye. key

ANSWER: b

28. The __________ is a horizontal grid from which musicians read the symbols of musical notation.a. clefb. scalec. cadenced. staffe. melody

ANSWER: d


29. What symbol indicates the range used for lower-sounding instruments and male voices?a. staffb. tonicc. bass clefd. key signaturee. octave

ANSWER: c

30. The __________, which includes both clefs, is for two-handed keyboard music with a large range.a. great (grand) staffb. chromatic scalec. modulationd. invertible counterpointe. symphony

ANSWER: a

31. The arrangement of pitches within the octave that ascends and descends according to a fixed pattern is known as:a. clefb. scalec. tempod. keye. modulation

ANSWER: b

32. Which two scales have been used for almost all Western melodies since the seventeenth century?a. pentatonic and chromaticb. major and whole tonec. minor and bluesd. chromatic and majore. major and minor

ANSWER: e

33. Which scale adds five more notes to the typical Western scale, adding color and richness to a melody?a. chromaticb. minorc. modulationd. majore. whole-tone

ANSWER: a

34. Although it is the first note of the scale, melodies rarely conclude on the tonic.a. trueb. false

ANSWER: b

35. What is the name for the central pitch around which melodies gravitate and on which they


generally end?a. phraseb. consequent c. clefd. keye. tonic

ANSWER: e

36. What provides the “gravitational field” that embodies both the scale of the melody and the strong pull of its tonic pitch?a. tonalityb. modec. meterd. counterpointe. modulation

ANSWER: a

37. What is the term describing the change in tonal center from one key to another?a. modulationb. cadencec. tonalityd. syncopatione. counterpoint

ANSWER: a

38. The element that adds depth and dimension to music as well as providing support and accompaniment to the melody is __________.a. textureb. rhythmc. harmonyd. colore. chromaticism

ANSWER: c

39. What is a unit of three or more pitches that sound at the same time?a. arpeggiob. bluesc. intervald. chorde. meter

ANSWER: d

40. A __________ is the basic chord in music; it consists of three pitches arranged in a specific manner.a. triadb. dominantc. beatd. motivee. arpeggio

ANSWER: a


41. What is the term for a purposeful movement of chords?a. dissonanceb. chord progressionc. harmonyd. metere. counterpoint

ANSWER: b

42. Which triad provides the “gravitational pull” of a chord progression; it is the central chord around which the melody and harmony function?a. consonantb. dominantc. tonicd. clefe. ritard

ANSWER: c

43. The end of a chord progression is called a/an:a. canonb. accentc. modulationd. timbree. cadence

ANSWER: e

44. On which note of the scale is the dominant triad always built?a. secondb. thirdc. fourthd. fifthe. octave

ANSWER: d

45. Which chord tends to move to the tonic at the end of musical phrases, helping create the strong effect of a cadence?a. dominantb. chromaticc. subdominantd. polychorde. arpeggio

ANSWER: a

46. Chords that are __________ consist of pitches that sound agreeable and stable.a. homophonicb. syncopatedc. consonantd. motivice. all of the above

ANSWER: c


47. Dissonant chords add __________ to the music?a. rhythmb. peace and tranquilityc. tension and anxietyd. pleasure and securitye. nothing

ANSWER: c

48. The harmony of the listening example is best described as dissonant. a. trueb. false

ANSWER: a [Stravinsky, Rite of Spring, CD 5/9, 0:00-0:09 (Rite chord)]

49. The harmony of the listening example is best described as dissonant. a. trueb. false

ANSWER: b [Haydn, Emperor Quartet, CD 2/18; 0:00-0:16 (opening phrase)]

50. Any element of music (rhythm, melody, or harmony) that continually repeats is called ____________.a. an ostinatob. a cadencec. modulationd. an arpeggioe. Doo-Wop

ANSWER: a

51. Pachelbel’s Canon in D is an early example of doo-wop.a. trueb. false

ANSWER: b

FILL IN THE BLANK

52. The gathering of beats into regular groups produces __________.ANSWER: meter

53. Most of the music we hear in Western society falls into __________ and __________ meter.ANSWER: duple and triple

54. The upward motion of the hand signals the __________ in any given measure.ANSWER: upbeat

55. __________ adds variety and excitement to music by giving an unexpected bounce or lift.ANSWER: syncopation

56. A note that duplicate another pitch, but at a higher or lower level, is called an __________.


ANSWER: octave

57. The two scales that are the basis of almost all Western melodies are the __________ and __________.ANSWER: major, minor

58. __________ is changing the tonal center from one key to another within a composition.ANSWER: modulation

59. The __________ scale divides the octave into twelve notes.ANSWER: chromatic

60. Chords that consist of a discordant, disagreeable mingling of sounds are said to be __________.ANSWER: dissonant

61. __________ chords add a sense of tension and anxiety to music, while __________ chords produce a sense of rest and stability.ANSWER: dissonant, consonant

62. An outgrowth of soul music that emerged in the 1950s, it was an improvised a cappella vocal music initially sung by African American groups.ANSWER: doo-wop

SHORT ANSWER

1. Provide a brief definition of syncopation.

[placing the accent on either a weak beat or between beats]

2. What makes the octave sound like the duplication of an earlier pitch, but at a higher or lower level?

[the vibrations, or cycles per second are twice as fast for a note an octave higher or half the speed for a note an octave lower]

3. What is the purpose of the clef sign?

[to indicate the range of pitch that is notated on the staff]

4. What effect does the notational symbols of “sharp” and “flat” have on a pitch?

[raises or lowers by a half-step]

5. What is the effect modulation has on our perception of music?

[gives a dynamic sense of movement, “like a change of scenery” (Schoenberg)]

6. What mood or feeling is often associated with the major scale?


[generally bright, cheery, and more optimistic]

7. What are the three meanings that can apply to the word “harmony”?

[pleasant sounding; accompanied; specific chords used to accompany the melody]

8. Why is listening to the bass line helpful in listening to harmony?

[chords are often built on the notes in the bass, and changing pitches in that line often signal a change in chords]

ESSAY

1. Choose two compositions (popular or classical). One work should emphasize rhythm, while in the other it should not be a predominant characteristic. Compare the effect rhythm has on your perception of the two examples. [Answers may vary]

2. All musical cultures, Western and non-Western, make use the octave. Do they all use it in the same manner or are there differences? Explain.

[Pitches within the octave are divided differently: many Chinese use a pentatonic melody; some Arabic traditions have fourteen subdivisions; historically Western music has preferred the division into seven pitches, with the eighth the octave]

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