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In time (i.e. the performer should return to the stable tempo, such as after an accelerando or ritardando); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) ab (Ger.) off, organ stops or mutes abafando (Port.) muffled, muted abandon or avec (Fr.)
Meter animates time in regular pulse groupings, called measures or bars, which in Western classical, popular, and traditional music often group notes in sets of two (e.g., 2/4 time), three (e.g., 3/4 time, also known as Waltz time, or 3/8 time), or four (e.g., 4/4 time). Meters are made easier to hear because songs and pieces often (but not ...
In music theory, the term period refers to forms of repetition and contrast between adjacent small-scale formal structures such as phrases. In twentieth-century music scholarship, the term is usually used similarly to the definition in the Oxford Companion to Music : "a period consists of two phrases, antecedent and consequent, each of which ...
Sound is propagated by progressive longitudinal vibratory disturbances (sound waves)." [17] This means that the correct response to the question: "if a tree falls in a forest and no one is around to hear it, does it make a sound?" is "yes", and "no", dependent on whether being answered using the physical, or the psychophysical definition ...
An often-cited definition of music is that it is "organized sound", a term originally coined by modernist composer Edgard Varèse [15] in reference to his own musical aesthetic. Varèse's concept of music as "organized sound" fits into his vision of "sound as living matter" and of "musical space as open rather than bounded". [16]
In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause.
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Curtis Roads, in his 2001 book 'Microsound', while attributing the origin of the term to Pierre Schaeffer, describes the sound object as "a basic unit of musical structure, generalizing the traditional concept of note to include complex and mutating sound events on a time scale ranging from a fraction of a second to several seconds."