Music: Music Terminologies, Types of Music/ Music Genres

MUSIC
MUSIC TERMINOLOGIES,
TYPES OF MUSIC/
MUSIC GENRES
GROUP 4
ART APPRECIATION
Placeholder Title 01
MUSIC
 Music is the art of arranging sounds in
time through the elements of melody,
harmony, rhythm, and timbre. It is one of
the universal cultural aspects of all
human societies. General definitions of
music include common elements such as
pitch (which governs melody and
harmony), rhythm (and its associated
concepts tempo, meter, and articulation),
dynamics (loudness and softness), and
the sonic qualities of timbre and texture
(which are sometimes termed the "color"
of a musical sound). Different styles or
types of music may emphasize, de-
emphasize or omit some of these
elements.
 Music is performed with a vast range of
instruments and vocal techniques
ranging from singing to rapping; there
are solely instrumental pieces, solely
vocal pieces (such as songs without
instrumental accompaniment) and pieces
that combine singing and instruments.
The word derives from Greek μουσική
(mousiké; "(art) of the Muses")
MUSIC
 In many cultures, music is an important
part of people's way of life, as it plays a
key role in religious rituals, rite of passage
ceremonies (e.g., graduation and
marriage), social activities (e.g., dancing)
and cultural activities ranging from
amateur karaoke singing to playing in an
amateur funk band or singing in a
community choir. People may make music
as a hobby, like a teen playing cello in a
youth orchestra, or work as a professional
musician or singer.
 The music industry includes the
individuals who create new songs and
musical pieces (such as songwriters and
composers), individuals who perform
music (which include orchestra, jazz band
and rock band musicians, singers and
conductors), individuals who record music
(music producers and sound engineers),
individuals who organize concert tours,
and individuals who sell recordings, sheet
music, and scores to customers. Even once
a song or piece has been performed, music
critics, music journalists, and music
scholars may assess and evaluate the piece
and its performance.
Music Terminologies
 There are different terms
used in music that could
help understand how music
is created.
Elements of Music
 The foundation on which
music is written, arranged,
and performed.
 All forms of music from all
societies and cultures have
common characteristics and
elements
 Rhythm - How the beat is
broken down
 Melody - The actual tune of
the song
 Harmony - How sounds
blend together
 Form - How the music is
structured
 Timbre/tone color -
How each instrument
sounds
 Tempo - The speed of
the Music
 Style - How the over all
characteristics sound
 Tone - is identified as
any type of sound. In
order to have a tone,
there must be a
vibration.
 Dynamics-Loudness or
softness
 Timbre-Tone Quality
 Duration - Length of
the tone
 Pitch - How high or
how low
Rhythm
Definition and Terms
related to Rythm
Rhythm
 Beat - Steady recurring pulse
 Beats are broken down into various
note values. Each note value is worth
a set number of beats and also has a
corresponding rest
 Whole Note - 4 Beats
 Half Note - 2 Beats
 Quarter Note - 1 Beat
 Eighth Note - 1/2 Beat
Terms related
to Rhythm
Staff
 5 Lines and 4 spaces that music is
written on.
Measure
 Divides the staff into smaller units
of measure by using bar lines
Bar Line
Measure
Time Signature
 Appears at the beginning of a
piece of music right after the Key
Signature.
 Tells the number of beats per
measure and which note value
equals one beat.
4
4
Time Signature
 meter: groups of beats in a recurring
pattern with accentuation on strong beats
 simple meters: beats subdivided into two
parts (2/4, 3/4, 4/4)
 compound meters: beats subdivided into
three parts (6/8, 9/8, 12/8)
 asymmetrical meters: meters with an
uneven number of subdivisions (7/4, 5/8)
 mixed meters: shifting between meters
Syncopation
 Rhythm that puts an emphasis on
a beat or a part of the beat that is
not usually emphasized.
Melody
related to Melody
Melody
 The actual tune of the music
 Do the notes and melody move in
an upward pattern?
 Do the notes and melody move in
a downward pattern?
 Do the notes repeat?
Terms related
to Melody
• Contour: the shape of the melody as
ascending, descending, arcing, inverse arc
(bowl), undulating (wave- like), flat
• Conjunct: stepwise melodic motion
• Disjunct: melodic motion in intervals
larger than a 2nd, often with a large number
of wide skips
• Range: the distance between the lowest and
highest pitches, usually referred to as
narrow (> octave) or wide (< octave)
• Motive: a short pattern of 3-5 notes
(melodic, rhythmic, harmonic or any
combination of these) that is repetitive in a
composition
• Phrase: a musical unit with a terminal
point, or cadence. Lengths of phrases can
vary.
Treble Clef
 Contains the Higher notes
Bass Clef
 Contains the lower notes
The Grand Staff
 The combination of the Bass and
Treble Clefs
Middle C
Harmony
 How the notes blend together
 Consonance - Absence of tension
or discord in music
 Dissonance - Discord in music,
suggests a state of tension
Major Scale
• Parallel Motion: two or more parts moving in the
same direction and same intervals, as in parallel fifths
• Contrary Motion: two or more parts moving in the
opposite direction
• Oblique Motion: occurs when one voice remains on
a single pitch while the other ascends or descends
• Canon: (meaning rule) one melody is strictly
imitated by a second part after a delay in the entrance
of the second part. In order for the parts to end
simultaneously, the canon may break down at the end
of the composition. The canonic parts may occur at
the unison or some other interval.
• Round: is a musical composition in which two or
more voices sing exactly the same melody (and may
continue repeating it indefinitely), but with each
voice beginning at different times so that different
parts of the melody coincide in the different voices,
but nevertheless fit harmoniously together
• Imitation: two or more parts that have the same or
similar phrase beginning and with delays between
entrances (as in a round or canon), but after the
beginning of the phrase, the parts diverge into
separate melodies
Chords
 In music and music theory a chord
is three or more different notes
that sound simultaneously.
 Chords using three pitch classes
are called triads.
Chords
 triads: three notes that can be
arranged into superimposed thirds
 extended chords: thirds added
above the triad, usually as a 9th,
11th or 13th
Forms
related to Forms
Forms
 Musical design
 Theme - A melody that assumes
importance in the development of
a composition because of its
central and continued use
 Sonata- Allegro Form- A large A-
B-A form consisting of three
sections: exposition, development
and recapitulation.
Terms related
to Form
Sonata form
 is a musical form that has been used widely
since the early Classical period. It has typically
been used in the first movement of
multimovement pieces, and is therefore more
specifically referred to as sonata-allegro form
or first-movement form. Study of the sonata
form in music theory rests on a standard
definition, and a series of hypotheses about the
underlying reasons for the durability and
variety of the form.
 The standard definition focuses on the thematic
and harmonic organization of tonal materials,
which are presented in an exposition,
elaborated and contrasted in a development and
then resolved harmonically and thematically in
a recapitulation. Additionally the standard
definition recognizes that an introduction and a
coda may be present. Each of the sections is
often further divided or characterized by the
particular means by which it accomplishes its
function in the form.
Repetitive forms:
• strophic: a vocal form consisting of
several phrases. The musical form is
repeated using different verses of text,
as in a hymn or folksong.
• modified strophic: simply means that the
repetitions of the sections are varied
slightly, but not so much that they are a
significant variation or the original.
• bar form: two sections of music, with
only the first section A repeated. Many
hymns use the far form.
• binary form: two sections of music,
usually with each A and B section
repeated. This is typically used in
• dances. When a group dances are
combined into a suite, the dances
generally all stay in the same key
Processive or variation forms:
 Continuous Variations: includes an ostinato -- a repeated
bass line or set of chords (usually 4-8 measures) with
continuous variations above the bass pattern. This term is
also called a ground bass, a chaconne, and a passacaglia.
These are common in the Renaissance and Baroque periods.
 Sectional Variations: a theme and variation set, where
usually each section is clearly marked. Generally in a theme
and variations, the theme itself is identifiable. Variation sets
are commonly used in the Classical period as the slow
movement of a string quartet or symphony.
 Fugue: a one-subject (also called monothematic)
composition in which the subject is continually restated on
different pitches and in various keys, processing the
modulations, fragments or registers of the subject. Like the
other variation forms, there is usually a return to the subject
in the original key.
 Return Forms: the initial section returns following a
contrasting middle section.
 Rounded Binary: two sections, with a return of A in the
second section: |: A :|: B A :| This form is typical of late
Baroque dances and of minuets/scherzos and trios of the
Classical period.
 Ternary: ABA, with new material in the middle section and
a return to the first A material (exactly or varied). The return
to the final A section can be recopied in the music, denoted
by a phrase above the music (da capo), or a sign (da capo al
segno), which is common in da capo arias.
 Rondo Forms: ABACA, ABACADA, etc. the
initial section is contrasted with episodes in
different keys and styles from the original A
material. Rondos are typically used as the last
movement of a Classical sonata, string quartet
or symphony.
 Rondeau: a medieval song/dance, ABaAabAB
 Virelai: a medieval song/dance, AbbaA,
usually in three stanzas. Thus,
AbbaAbbaAbbaA
 Compound Forms: any two forms combined
to make a new, large form binary forms can be
combined (Minuet – Trio - Minuet) to produce
a larger ABA structure
 Sonata-rondo: combines the contrasting
rondo sections ABA-C-ABA with the sonata
principles of an exposition, development and
recapitulation.
 Concerto-sonata Form: derived from sonata
form, but with two expositions (1. orchestra, 2.
orchestra and soloist) and a solo cadenza
between the recapitulation and the coda.
Additive form:
 Through-composed: continuous
contrasting sections are composed
together without repetitions of
previous material. Ballad songs
and improvisatory instrumental
pieces, like the fantasia, toccata or
prelude are examples of additive
compositions. Some Renaissance
genres (mass, motet, madrigal)
are typically through-composed
Opera - A staged drama that is
predominantly sung, most often with
orchestral accompaniment with three
Sections
3 Sections of an Opera
 Overture - An extended
orchestral introduction
 Aria-A song for solo singer and
orchestra
 Recitative - A speech-like style of
singing
Tempo
related to Tempo
Tempo
 Speed of the music
 Adagio – Slow
 Allegro – Fast
 Largo-Slow & broad
 Andante-Medium Slow
 Moderato-Moderate
 Vivo-Lively and Brisk
 Presto-Very Fast
 Prestissimo-Very, Very Fast
Terms related
to Tempo
 Qualifying Terms: meno (less),
più (more), molto (very or much)
poco a poco (little by little), assai
(very), mosso (motion), sostenuto
(sustained), non troppo (not too
much)
Timbre/Tone
Quality
related to Timbre/Tone
Quality
Timbre/Tone
Quality
 A distinctive tone quality of a sound
 Instruments are classified according to
the source of the vibration which
creates their sound
 Woodwind
 Brass
 Percussion
 Keyboard
 String
Terms related
to
Timbre/Tone
Quality
Terms related
to
Timbre/Tone
Quality
Classifications Of Instruments:
 chordophone: string instruments
 aerophone: wind produces the
sound (woodwinds and brass
instruments)
 membranophone: a vibrating
membrane produces the sound
(drums)
 idiophone: sound is produced from
the material (wood, glass, stone,
metal)
Tone
related to Tone
Tone
 a tone is identified as any type of
sound
 to have a tone, there must be a
vibration
Terms related
to Tone
Dynamic
 Volume of the music
 Piano - p - Soft
 Forte - f - Loud
 Crescendo - Gradually get louder
 Decrescendo - Gradually get

softer
Timbre-Tone
Quality
 Modulation: moving from one
key area to another key
 Atonality: music that is not tonal
or not based on any system of
keys or modes
 Bitonality: the simultaneous use
of two key areas.
 Polytonality: the simultaneous
use of two or more key areas.
Pitch
 How high or how low
 Chromatic: using pitches outside of a
particular diatonic scale, or using a
succession of half steps.
 Major Tonality: pitches are related to
a central pitch called the tonic. Major
scales are used.
 Minor Tonality: pitches are related to
a central pitch called the tonic. Minor
scales are used.
Duration
 Length of the tone
 Diatonic: a seven-note scale with a
regular pattern of 5 whole and 2 half
steps. Diatonic intervals are found
within this type of scale.
 Modality: (noun; modal = adjective)
refers to music using diatonic scales
with Greek names (Western) or non-
Western scales. Modal scales
predominate in medieval and
Renaissance compositions.
Style
related to Style
Style
 a tone is identified as any type of
sound
 to have a tone, there must be a
vibration
Terms related
to Style
Example of
 chordophone: string instruments
 aerophone: wind produces the
sound (woodwinds and brass
instruments)
 membranophone: a vibrating
membrane produces the sound
(drums)
 idiophone: sound is produced from
the material (wood, glass, stone,
metal)
Time Periods
of Music
Classical Greek/Roman, Medieval,
Renaissance, Baroque, Neo-
classicism/Classical, Romanticism,
Impressionism and Post Impressionism,
Modern and Contemporary
Classical Greece and Roman

 800 BC_400 AD
 Instructs and perfects humans:
Ritual worship. Presents the
universal ideal of beauty
through logic, order, reason, and
moderation
 Pythagoras - music theory
 Part 2
Medieval Period
 400 - 1400 AD
 Instructs in Christian
Faith. Appeals to the
emotions, stresses
Importance of Religion.
 Byzantine
 Gregorian Chant
 Beginning of Polyphony
 Dies Irae
 Sound of Silence
 Music has existed since
the dawn of human
civilization, but most
music historians begin
cataloging classical
music in the Medieval
era. Medieval music is
known for monophonic
chant—sometimes
called Gregorian chant
due to its use by
Gregorian monks. In
addition to singing,
Medieval musicians
played instrumental
music on instruments
like the lute, the flute,
the recorder, and select
string instruments.
Renaissance
 1400-1600
 Reconciles Christian faith and
reason, Promotes “rebirth” of the
classical ideal. Allows new
freedom of thought.
 Counterpoint-the combination of
two or more melodic lines played
simultaneously
 Palestrina
 Renaissance-era music introduced

polyphonic music to wide
audiences, particularly via choral
music, which was performed in
liturgical settings. In addition to
the lute, Renaissance musicians
played viol, rebec, lyre, and guitar
among other string instruments.
Brass instruments like the sackbut
and cornet also emerged during
this era. Perhaps the most notable
Renaissance composers were
Giovanni Pierluigi da Palestrina,
John Dowland, and Thomas
Tallis..
Baroque
 1600-1750
 Rejects the limits of previous
styles. Restores the power of the
Monarchy/church: excess,
ornamentation, contrasts,
tenstions, energy
 Fugue
 Bach
 Vivaldi
 During the Baroque era, classical music

surged forward in its complexity. The
Baroque era saw a full embrace of tonal
music—music based on major scales
and minor scales rather than modes—
and it maintained the polyphony of the
Renaissance era. Many of the
instruments used by today's orchestras
were common in Baroque music,
including violin, viola, cello, contrabass
(double bass), bassoon, and oboe.
Harpsichord was the dominant keyboard
instrument, although the piano first
emerged during this era. The most
renowned composers of the early
Baroque era include Alessandro Scarlatti
and Henry Purcell. By the late Baroque
period, composers like Antonio Vivaldi,
Dominico Scarlatti, George Frideric
Handel, and Georg Philipp Telemann
achieved massive popularity. The most
influential composer to come from the
Baroque era is Johann Sebastian Bach,
who composed extensive preludes,
fugues, cantatas, and organ music.
Neo-Classicism/
Classical
 1750-1820
 Style in music. Reacts
to the excesses of
monarchy and
ornamentation of the
Baroque. Returns to
order, reason, and
structural clarity
 Mozart
 Beethoven
 Haydn
 Within the broad genre of
classical music exists the
Classical period. This era of
music marked the first time that
the symphony, the instrumental
concerto (which highlights
virtuoso soloists), and the
sonata form were brought to
wide audiences. Chamber
music for trio and string quartet
was also popular during the
Classical era. The signature
classical composer is Wolfgang
Amadeus Mozart, although he
was far from the only star of
the classical era. Joseph Haydn,
Franz Schubert, and J.S. Bach's
sons J.C. Bach and C.P.E. Bach
were also star composers
during this period. Opera
composers like Mozart and
Christoph Willibald Gluck
developed the operatic form
into a style that remains
recognizable today. Ludwig van
Beethoven began his career
during the Classical era, but his
own innovations helped usher
in the next musical era.
Romanticism
 1825-1900
 Revolts against neo-
classical order/reason.
Returns to the
nature/imagination:
Freedom, emotion,
sentimentality and
spontaneity; inters in
the exotic, patriotic,
primitive, and
supernatural
 Beethoven
 Tchaikovsky
 Wagner
 Exemplified by late-period
Beethoven, the Romantic era
introduced emotion and drama to
the platonic beauty of Classical
period music. Early Romantic
works like Beethoven's
Symphony No. 9 set a template
for nearly all nineteenth-century
music that followed. Many of the
composers who dominate today's
symphonic repertoires composed
during the Romantic era,
including Frederic Chopin, Franz
Liszt, Felix Mendelssohn, Hector
Berlioz, Robert Schumann,
Johannes Brahms, Anton
Bruckner, Gustav Mahler, Peter
Ilyich Tchaikovsky, Richard
Strauss, Jean Sibelius, and Sergei
Rachmaninoff. Opera composers
like Richard Wagner, Giuseppe
Verdi, and Giacomo Puccini used
Romanticism's emotional power
to create beautiful melodic lines
sung in Italian and German. The
Romantic era also saw the
creation of a new instrument in
the woodwind family, the
saxophone, which would gain
special prominence in the
century to come.
Modern and Contemporary

 1900-Present
 Breaks with or redefines the
conventions of the past. Uses
experimental techniques. Shows
the diversity of society and the
blending of cultures
 Copland
 Stravinsky
 Ellington
 Gershwin
 Folk
 Popular
 Jazz
 The Modern era of art and music came

about in the early twentieth century.
Classical composers of the early
twentieth century reveled in breaking
the harmonic and structural rules that
had governed previous forms of
classical music. Igor Stravinsky
defiantly stretched instruments to their
natural limits, embraced mixed meter,
and challenged traditional notions of
tonality in works like The Rite of
Spring. French composers like Claude
Debussy and Maurice Ravel led a
subgenre of twentieth-century music
called Impressionism. Others like
Dimitri Shostakovich, Paul Hindemith,
and Béla Bartók stuck with classical
forms like the piano concerto and the
sonata, but challenged harmonic
traditions. Perhaps most radical was the
German composer Arnold Schoenberg
who, along with disciples like Alban
Berg and Anton Webern, disposed of
tonality altogether and embraced serial
(or 12-tone) music.
 The art music of the twentieth

century shifted starting in the
1930s and continuing into the post-
World War II era, ushering in a
style of music that is sometimes
called postmodern or
contemporary. Early purveyors of
postmodern music include Olivier
Messiaen, who combined classical
forms with new instruments like
the ondes martenot. Postmodern
and contemporary composers like
Pierre Boulez, Witold Lutoslawski,
Krzysztof Penderecki, Henryk
Górecki, György Ligeti, Philip
Glass, Steve Reich, John Adams,
and Christopher Rouse have
blended the lines between tonal
and atonal music, and they’ve
blurred the lines between classical
music and other forms like rock
and jazz.
Neo-Classicism/
Classical
 Classical music has a lighter, clearer texture than Baroque
music and is less complex. It is mainly homophonic—
melody above chordal accompaniment (but counterpoint is
by no means forgotten, especially later in the period). It
also make use of Style gallant in the classical period which
was drawn in opposition to the strictures of the Baroque
style, emphasizing light elegance in place of the Baroque’s
dignified seriousness and impressive grandeur.
 Variety and contrast within a piece became more
pronounced than before. Variety of keys, melodies,
rhythms and dynamics (using crescendo, diminuendo and
sforzando), along with frequent changes of mood and
timbre were more commonplace in the Classical period
than they had been in the Baroque. Melodies tended to be
shorter than those of Baroque music, with clear-cut phrases
and clearly marked cadences. The orchestra increased in
size and range; the harpsichord continuo fell out of use,
and the woodwind became a self-contained section. As a
solo instrument, the harpsichord was replaced by the piano
(or fortepiano). Early piano music was light in texture,
often with Alberti bass accompaniment, but it later became
richer, more sonorous and more powerful.
 Importance was given to instrumental music—the main
kinds were sonata, trio, string quartet, symphony, concerto,
serenade and divertimento. Sonata form developed and
became the most important form. It was used to build up
the first movement of most large-scale works, but also
other movements and single pieces (such as overtures).
Romantic Music
 Romantic music is the type of music that comes after the music of
the classical period. It is music from about the years 1820 to 1910.
This time is known as the romantic period. Like other the earlier
types of music, not all romantic music belongs to the romantic
period. Some composers lived outside the romantic period but still
wrote romantic music. One example is Sergei Rachmaninoff (1873–
1943). On the other hand, composers who lived near the beginning
of the romantic period were very confused indeed! Or rather, we are
very confused about them today because we don’t know where they
belong. One example is Franz Schubert (1797–1828).
 And it’s all Ludwig van Beethoven’s (1770–1827) fault! He started it
off. Beethoven wrote the first romantic music. Beethoven wrote the
first music where he didn’t really care what the audience thought.
And the audience was shocked! It’s hard to imagine now, but they
really were. Beethoven’s first piece like this was his Symphony No.
3, commonly called the Eroica Symphony (heroic in Italian). You
can a video of part of this on the Beethoven page.
 Apart from Beethoven, it’s hard to choose the greatest romantic
composer. My preference is Richard Wagner (1813–1883), but a lot
of people would say Johannes Brahms (1833–1897). Other famous
romantic composers include
 Felix Mendelssohn (1809–1847).
 Frédéric Chopin (1810–1849).
 Robert Schumann (1810–1856).
 Franz Liszt (1811–1886).
 Giuseppe Verdi (1813–1901).
 Pyotr Ilyich Tchaikovsky (1840–1893).
 Gustav Mahler (1860–1911).
 Romantic music has all features of music from
the classical period, but with much more of it!
This means:
 The tunes get longer and stronger.
 The louds get louder and the quiets get quieter.
 The mood changes are much bigger and happen
more often.
 The orchestras get bigger.
 The music goes on for a longer time.
 There is more music with the same names as
music from the classical period. So there are a
lots of symphonies, sonatas, and concertos.
There is also music with some new names, such
as symphonic poems.
 Romantic music is a term denoting an era of
Western classical music that began in the late
18th or early 19th century. It was related to
Romanticism, the European artistic and literary
movement that arose in the second half of the
18th century, and Romantic music in particular
dominated the Romantic movement in Germany.
 Romantic music is related to romanticism in
literature, visual arts, and philosophy, though the
conventional time periods used in musicology are
now very different from their counterparts in the other
arts, which define "romantic" as running from the
1780s to the 1840s. The Romanticism movement held
that not all truth could be deduced from axioms, that
there were inescapable realities in the world which
could only be reached through emotion, feeling and
intuition. Romantic music struggled to increase
emotional expression and power to describe these
deeper truths, while preserving or even extending the
formal structures from the classical period.
 The vernacular use of the term "romantic music"
applies to music which is thought to evoke a soft
mood or dreamy atmosphere. This usage is rooted in
the connotations of the word "romantic" that were
established during the period, but not all "Romantic"
pieces fit this description, with some musical
romanticism producing strong, harsh sounds for
agitated emotion. Conversely, music that is
"romantic" in the modern everyday usage of the word
(that is, relating to the emotion of romantic love) is
not necessarily linked to the Romantic period.
Modern Music
 Modern classical music is about breaking rules. It’s
about being different. Whatever you think music
should sound like, I am sure there is some modern
classical music that doesn’t sound like that at all!!
 Do you think music should have a tune? Well there
is lots of modern classical music that doesn’t have
a tune.
 Do you think music should be played on a music
instrument? Well there is lots of modern classical
music that is played on things that aren’t very
‘musical’ at all! Watch this video to see a piece of
music written for a typewriter (this is what people
used to type on before computers were around)!
 The defining feature of modern music (and modern
art generally) is the breaking-down of all
traditional aesthetic conventions, thereby
unleashing complete freedom in all aesthetic
dimensions, including melody, rhythm, and chord
progression. The convention of major-minor
tonality (already heavily strained by Wagner and
his successors) was completely abandoned by
many composers (see Tonality). Even the very
notion of what constitutes "music" was redefined.
 The development of audio recording technology, along
with the ability to quickly and cheaply distribute
recordings and scores, were central to the revolutions
of modern music. The vast catalogue of Western art
music became much more accessible. Moreover, non-
Western music was suddenly open to exploration (via
notated and recorded works), thus exposing Western
composers to countless exotic musical ideas.
 Recording technology also provided composers with a
new "instrument": recorded sounds, which could be
manipulated in endless ways. Further advances in
audio technology gave rise to electronically-produced
sounds. Ultimately, many composers agreed that all
sounds, even "noise", can be considered forms of
music.
 Some modern music features indeterminacy, in which
the composer deliberately abstains from clearly
defining certain aspects of a composition (e.g.
instrumentation, melody, dynamics), such that they are
realized in different ways for each performance. For
instance, a composition might ask a player to generate
a melody by interpreting something (e.g. curving lines
that suggest the shape of a melody), or to choose from
a selection of melodies by rolling a die.
 The development of audio recording technology, along
with the ability to quickly and cheaply distribute
recordings and scores, were central to the revolutions
of modern music. The vast catalogue of Western art
music became much more accessible. Moreover, non-
Western music was suddenly open to exploration (via
notated and recorded works), thus exposing Western
composers to countless exotic musical ideas.
 Recording technology also provided composers with a
new "instrument": recorded sounds, which could be
manipulated in endless ways. Further advances in
audio technology gave rise to electronically-produced
sounds. Ultimately, many composers agreed that all
sounds, even "noise", can be considered forms of
music.
 Some modern music features indeterminacy, in which
the composer deliberately abstains from clearly
defining certain aspects of a composition (e.g.
instrumentation, melody, dynamics), such that they are
realized in different ways for each performance. For
instance, a composition might ask a player to generate
a melody by interpreting something (e.g. curving lines
that suggest the shape of a melody), or to choose from
a selection of melodies by rolling a die.
Popular Culture
Music
 Popular music emerged in the United States
from the fusion of two folk traditions. One was
American folk music, which consisted of
various traditions descended chiefly from
British folk music (which, naturally, had been
imported to colonial America); the other was
African music, carried to America by
thousands of slaves. Most genres of popular
music can be traced back to the merging of
these traditions, in which Western major-minor
tonality was combined with the rhythms of
Africa.
 Mass media also gave rise to film music, a
special branch of Western art music. Film
music generally employs major-minor tonality,
given that this system allows emotion to be
conveyed in such a clear, powerful manner (see
Tonality). Film music is the only form of art
music in history to be regularly experienced by
a large proportion of society; all other art music
(especially that of the modern age, which is
generally quite inaccessible) is enjoyed by a
much more limited audience.
 With the development of modern
mass media (communication
technologies that quickly reach large
numbers of people, e.g. radio,
television, audio recordings), a new
family of music was born: popular
music, which has the simple
structure/theory and informal quality
of folk music. Instead of developing
gradually among a given culture,
however, popular music develops at
a swift pace (due to its rapid
dissemination via mass media) in the
hands of professional composers
(like art music).
 Popular music as we know it originated out of the Tin
Pan Alley tradition that emerged at the beginning of the
20th century in which composers, singers, and
publishers worked together to create hit songs. The
primary difference between popular music and classical
music is that, whereas classical artists were exalted for
their individuality and expected to differ stylistically
from other classical composers, popular artists were
praised for conforming to the tastes of their intended
audience.
 Throughout the last century, tastes in popular music
have evolved to encompass a wide variety of styles.
People who enjoyed opera at the turn of the 20th century
saw the rise of vaudeville and ragtime in the Tin Pan
Alley era. Jazz and blues emerged from New Orleans
and the Mississippi Delta during the 1930s, and musical
styles adapted as people migrated to Northern urban
areas. Rhythm and blues laid the groundwork for rock
and roll that shook up popular music in the 1950s.
Popular music diversified in the 1960s to encompass
surf, folk, and soul music. In the 1970s, glam rock and
disco became popular, and punk rockers revolted against
the excesses of these styles. Hip-hop dominated the
1980s, and its popularity continued into the 1990s and
2000s. Pop was also successful in the 1990s and 2000s,
while mainstream interest in alternative rock waned at
the end of the 2000s.
Original Pinoy
Music
 Original Pilipino Music, now more commonly known
as Original Pinoy Music, Original Philippine Music or
OPM for short, originally referred to Philippine pop
songs, particularly ballads, that were popular in the
Philippines during the late 70s after the collapse of its
predecessor, the Manila Sound, in the late 1970s, up
until the present. OPM artists such as Rico Puno Jr.,
Ryan Cayabyab, and Celeste Legaspi in the 70’s, and
Regine Velasquez, Sharon Cuneta, Martin Nievera,
Pops Fernandes, among many others led the way in
the 80’s and 90s. Today, OPM is experiencing a bit of
a resurgence, with new Pilipino underground artists
like Jess Connelly, BP Velazquez, CRWN, Lustbass
(from Manila Rising event last year curated by Mark
Herlihy) and more creating a new OPM sound.
Oakland party crew ASTIG OPM has a monthly night
dedicated to the past, present, and future of OPM
music. Record collectors are even digging for Pilipino
rare grooves on vinyl.
 ‘OPM’ as a catchphrase is a term that Filipinos know
all too well. Various Spotify playlists are being made
every year with different variations of OPM such as
‘OPM Favourites’, ‘OPM: Hits of the 00’s’,
‘Acoustically OPM’ and many more. But what makes
these songs ‘original’ to the Philippines, as the
acronym implies?
 From its inception, OPM has been centered in
Manila, where Tagalog, and English are the
dominant languages. Other ethnolinguistic
groups such as the Visayan, Bikol, and
Kapampangan, despite making music in their
native languages have not been recognized as
OPM, except in unusual cases like the Bisrock
(Visayan Rock music) song “Charing” by
Davao band 1017.
 Multiculturalism advocates, and federalists
often associate this discrepancy to the Tagalog-
centric cultural hegemony of the capital city of
Manila. Having successfully created a subgenre
of Philippine Rock they called Bisrock, the
Visayans by far have the biggest collection of
modern music in their native language, with
great contributions from Visayan bands Phylum,
and Missing Filemon. However, a band called
Groupies’ Panciteria that hails from Tacloban, a
Winaray-speaking city, launched a free
downloadable mp3 album on Soundclick.com in
2009 containing 13 Tagalog songs and only one
very short one in the Cebuano language.
 The OPM scene is filled with heart-wrenching
songs that can definitely make you cry if you’re on
the rough patch of fixing your broken heart! OPM
artists can really find a way to get under our skins,
don’t you agree?
 OPM songs are woven beautifully—full of craft,
passion, determination, and hardwork that results to
such quality music. The craft that Filipinos have for
their music is very intense that they spend each
passing day perfecting their pieces worthy to be
added in the Philippine music scene.
 Other than it being created by our very own
talented Filipino musicians, it reflects our unique
culture through creativity. The music also depicts
the sentiments of the people, which makes it timely
and relatable to many.OPM respresents the culture
and the taste of music of the Filipinos. It is special
because it’s rooted from the Pinoy culture. It show
the talents of our kind ganun.It is rooted to our very
core, resulting to music that not only represents us
as Filipinos, but our unique traits, lifestyles, and
traditions.
 OPM gives life to the Filipino soul.
Thank you for listening to us!!!!

Music: Music Terminologies, Types of Music/ Music Genres

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MUSIC

 Decrescendo - Gradually get

Classical Greece and Roman

 Renaissance-era music introduced

 During the Baroque era, classical music

Modern and Contemporary

 The Modern era of art and music came

 The art music of the twentieth

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