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The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate.
A concept musical is a work of musical theatre with a book and score structured to develop and embody a theme or message, rather than convey a narrative plot.. The form was popularized by Man of La Mancha (1965), Cabaret (1966), and Hair (1967), with Company (1970) paving the way for bolder concept musicals.
In music and musical form, contrast is the difference between parts or different instrument sounds. The three types of contrast are rhythmic contrast, melodic contrast, and harmonic contrast. [1] Procedures of contrast include stratification, juxtaposition, and interpolation.
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
The message, disguised as a foreign-sounding language spoken under the narration, is, "It doesn't take a genius to tell the difference between chicken shit and chicken salad." [59] Belgian act Poésie Noire included a satirical backmasked message on their 1988 album Tetra saying "You fucking asshole, play the record in the normal way". [60]
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Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.