Flashcards
Chapter 18: Phrase Structure and Motivic Analysis
Cards in this deck (43)
- 1Define: PhraseA basic unit of musical thought similar to a sentence, with a beginning, middle, and end. In tonal music, must end w/ a cadence. In nontonal music, other musical features provide closure.
- 2Define: MotiveThe smallest recognizable musical idea. May be characterized by its pitches, contour, and/or rhythm. A motive rarely contains a cadence.
- 3Define: TransposedMotive appears on another scale degree
- 4Define: InvertedThe direction of each diatonic interval is reversed
- 5Define: ExtendedRepeating a portion of the motive to make it longer
- 6Define: TruncatedCutting off the end of a motive to make it shorter
- 7Define: FragmentedTaking a small (but recognizable) piece of the original motive and repeating it with transpositions or other variations
- 8How do you invert a motive?Keep the order of interval sizes the same, but reverse each interval in direction (i.e. ascending third -> descending third)
- 9How do you invert a contour motive?Reverse the direction of each step, skip, or leap (interval size can change)
- 10What is a sentence?A sentence generally consists of 8 measures in a 2+2+4 design or 4 measures in a 1+1+2 design. The first two units do not end w/ a cadence, but require the third unit for closure.
- 11What happens in the first unit of a sentence?A motive (or basic idea) is stated, typically over tonic harmony
- 12What happens in the second unit of a sentence?The motive is restated, usually varied or transposed, over a dominant harmony or tonic expansion
- 13What happens in the third unit of a sentence?The motive is broken up and developed with an accelerated harmonic rhythm as the phrase moves towards a cadence (HC, PAC, etc.)
- 14What are the opening motive and restatement called?Presentation and Continuation respectively
- 15Define: PeriodA musical unit usually consisting of two phrases. The first phrase ends in a harmonically weak cadence (IAC, HC) and the second ends with a stronger, more conclusive cadence (usually PAC).
- 16What are the first and second phrases called in a period?Antecedent and Consequent respectively
- 17Define: Parallel PeriodTwo phrases begin identically or the second phrase is audibly a variant of the first
- 18Define: Contrasting PeriodTwo phrases begin differently; share some characteristics, but beginning and overall shape and sound differ
- 19How are phrases labeled in a parallel period?Ex. a a'
b b'
c c' - 20How are phrases labeled in a contrasting period?Ex. a b
- 21True or False: Periods CANNOT have a sentence structureFalse; periods can have a sentence structure embedded within
- 22Define: Modulating PeriodA phrase changes to a different key than first introduced; usually occurs in the second phrase of a period but can occur in both
- 23What are symmetrical and asymmetrical phrases?Symmetrical phrases have the same measure length while asymmetrical phrases differ in length
- 24Define: Three-phase periodthree phrases that belong together with weak-weak-strong cadences (aab, abb', aba', or abc etc)
- 25Define: Double PeriodFour phrases where the PAC only appears at the end (a b a' b', etc)
- 26Define: Phrase Grouptwo, three, or more phrases group as a unit, but each phrase ends with an inconclusive cadence (aba, aa'b, abb' etc)
- 27Define: HypermeterThe regular metric alternation of strong and weak measures; interprets groups of measures as though they were beats in a single measure
- 28True or False: Hypermeter is typically aligned with phrase structure (T-PD-D-T)True
- 29Define: Phrase RhythmInteraction of hypermetric structure with phrase structure
- 30Define: Phrase Elision/ Overlapa measure plays as the end of one phrase and the beginning of the next
- 31Define: Metric ReinterpretationType of elision where disruption of hypermeter causes a weak measure to become strong
- 32Define: Internal ExpansionInserting extra measures in the middle of a phrase
- 33Define: External ExpansionAdding measures before the basic phrase begins or at the end
- 34Define: Lead-inMeasures that precede a phrase and CAN delay a hypermetric downbeat
- 35Define: Cadential ExpansionsExpansions at the end of as phrase; sometimes begin with a deceptive resolution of V, or may coincide with an elision
- 36Define: CodaSection of music at the end of a movement (usually after a strong cadence in the tonic) that extends the tonic area or the final cadence and brings the work to a close
- 37How can a coda end a piece?Codas will sometimes wend with energetic cadential flourishes; they may also end quietly, dissipating the energy of a movement
- 38Define: CodettaShort coda, lasts only a few measures or comes at the end of a section rather than a movement
- 39Define: Contour MotiveA motive that maintains its contour, or musical shape, but changes its intervals; its rhythm may or may not be altered
- 40Define: Rhythmic MotiveA motive that maintains its rhythm but may change its contour and interval size
- 41Define: SubphraseA melodic and harmonic unit smaller than that of a phrase. Subphrases complete only a portion of the basic phrase progression and do not conclude with a cadence.
- 42Name three different ways motives may be transformedPossible Answers:
Transposed, Inverted, Truncated, Fragmented, Extended - 43—
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- Music Flashcards on Chapter 18: Phrase Structure and Motivic Analysis, created by Micah Duckett on 16/12/2018.
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