The document discusses various musical elements and styles. It defines rhythm as the flow of music through time, created by combining notes and rests. It describes the basic elements of rhythm including beat, meter, accent, syncopation, and tempo. It also discusses musical notation including the staff, clefs, notes, rests, and other symbols. Finally, it provides an overview of different musical styles from the Middle Ages to the 20th century.

1. RHYTHM
One of the Elements of Music
Heart and soul of Music
The flow of music through time.
Rhythm has several interrelated , which we’ll
consider in turn: beat, meter, accent, and
syncopation, and tempo
To create a rhythm combine any variety of notes
and rests together

2. 1. BEAT
A regular, recurrent pulsation that divides
the music into equal units of time.
An individual stroke of measured time;
the steady pulse of a song. Beats are
rhythmically organized by the time
signature, and given speed by the tempo.

4. 2. METER
is a recurring pattern of stresses or accents
that provide the pulse or beat of music.
Meter is notated at the beginning of a
composition with a time signature. Time
signatures are always notated with two
numbers, one on top of the other, much like a
fraction in math.

5. Music is organized with time signatures
that indicate how many beats are found
within one measure of music.
The top number of the time signature
indicates how many beats will appear in one
measure/bar of music.
2 3 4 6 6 over 8 means 6 beats per bar
4 4 4 8 4 over 4 means 4 beats per bar

6. The bottom number of the time signature
indicates what type of note receives one beat.
The 8 in 6/8 time means an eighth note receives
one beat
2 3 4 6
4 4 4 8
The 4 in 4/4 time means a quarter notes receives
one beat

7. Meter

8. The terms duple, triple, and quadruple
refer to the number of beats in a measure.

9. Accent & Syncopation
are points of emphasis within a measure.
Normally accents occur on the first and
alternating beats. An accent appearing on a
normally unaccented beat is called
syncopation. Syncopation is an unexpected
strong point heard in a rhythm.
Accents and syncopation give variety to
musical composition.

11. Tempo
Definition: The pace or speed at which a
piece of music is performed.
Tempo markings are traditionally given in
Italian and the words that refer to tempo
can be categorized in the following ways:

12. SLOW
Grave – extremely slow and solemn
Adagio – very slow
Lento – slow
Largo – slow and broad
Larghetto – less slow than largo

13. MEDIUM
Andante – rather slow, at a moderate walking
pace
Andantino – a little faster than andante
Moderato – at a moderate pace
Allegretto – fairly quick, slightly slower than
allegro

14. FAST
Con moto – with movement, or a certain quickness
Allegro – lively, rather quick
Vivace – quick and lively
Veloce – with velocity
Rapido – rapid
Presto – very quick
Prestissimo – as quick as possible

15. Musical Notation
Music is made up of a variety of symbols, the
most basic of which are the staff, the clefs
and the notes. All music contains these
fundamental components, and in order to
learn how to read music, you must first
familiarize yourself with these basics

16. The Staff
The staff is the basis of written music. It is what the
notes are presented on. It consists of 5 lines with four
spaces between them.
The staff consists of five lines and four spaces. Each of
those lines and each of those spaces represents a
different letter, which in turn represents a note. Those
lines and spaces represent notes named A-G, and the
note sequence moves alphabetically up the staff.

17. Treble Clef/ G-clef
The treble clef is used for notes in the higher pitch
ranges. The treble clef (or G clef) has evolved from a
stylized letter G into the present.
Among the instruments that use treble clef are the
violin, flute, oboe, bagpipe, English horn, all clarinets, all
saxophones, horn, trumpet, cornet, vibraphone,
xylophone, mandolin, recorder; it is also used for
euphonium, baritone horn, and guitar (which sound an
octave lower). Treble clef is the upper stave of the grand
stave used for harp and keyboard instruments
Treble clef is used for the soprano, mezzo-soprano, alto,
contralto and tenor voices.

18. The treble staff begins with the first line as E. Each
successive space and line is the next letter in the
musical alphabet. The staff ends with the last line as an
F. Many mnemonic devices exist to help a person
remember which line and space is which. One of the
most common phrases to remember the names of the
lines is: Every Good Boy Does Fine. (Also popular is
Elvis' Guitar Broke Down Friday). To remember the
spaces, just remember that they spell FACE starting
from the bottom.

19. Bass clef/F-clef
When the F-clef is placed on the fourth line, it is
called the bass clef. This is the only F-clef used today,
so that the terms "F-clef" and "bass clef" are often
regarded as synonymous.
This clef is used for the cello, euphonium, double
bass, bass guitar, bassoon, contrabassoon, trombone,
baritone horn, tuba, and timpani. It is also used for
the lowest notes of the horn, and for the baritone
and bass voices. Tenor voice is notated in bass clef
when the tenor and bass are written on the same
stave. Bass clef is the bottom clef in the grand stave
for harp and keyboard instruments.

20. Instead of an E, the bottom line is a G, and the letters
proceed logically from there. Again, simple mnemonics
can be used to remember the names of the notes. The
lines on the bass cleft, from bottom to top are: G, B, D, F,
A (Good Boys Don't Fight Anyone), and the spaces are
A,C,E,G (All Cows Eat Grass).

21. Ledger Lines
Ledger lines extend above and below the staff,
allowing for higher or lower notes to be shown than
would otherwise fit on the staff.
 These lines follow the same musical alphabet
pattern as the staff does. Think of them as just extra
lines and spaces on the end of the staff.
The stems of notes on ledger lines extend either up
or down towards the middle line.

22. Notes
Notes placed on the staff tell us which note letter to
play on our instrument and how long to play it. There
are three parts of each note, the note head, the stem
and the flag.

23. Every note has a note head, either filled
(black) or open (white). Where the note head
sits on the staff (either on a line or a space)
determines which note you will play.
Sometimes, note heads will sit above or
below the five lines and four spaces of a staff.
In that case, a line is drawn through the note,
above the note or below the note head, to
indicate the note letter to play, as in the B and
C notes above.

24. The note stem is a thin line that extends
either up or down from the note head. The
line extends from the right if pointing upward
or from the left if pointing downward. The
direction of the line doesn’t affect how you
play the note, but serves as a way to make
the notes easier to read while allowing them
to fit neatly on the staff. As a rule, any notes
at or above the B line on the staff have
downward pointing stems, those notes below
the B line have upward pointing stems.

25. The note flag is a curvy mark to the right of the
note stem. Its purpose is to tell you how long to
hold a note. We’ll see below how a single flag
shortens the note’s duration, while multiple flags
can make it shorter still.
Rests
Rests are simply places where the musician does
not play. Rests have equivalent values to
corresponding notes of duration. Thus, there is a
whole rest, half rest, quarter rest, etc., just like
normal notes. Rests are always located in the same
vertical position.

28. Dotted Notes
A dotted note is equivalent to one and a half of
its original length.
A dot beside a note increases its duration by half
its original value. For example, half notes, in 4/4
time, are worth 2 beats. When a dot is placed next
to the half note, the duration is increased by one
(one being half of the original duration of two) and
the resulting duration is three beats.

30. MELODY
Melody is the tune of a song.
Melody is what results from playing notes of
different pitches - sometimes pitches can be
repeated too - one after the other in an 'organized'
way.
HARMONY
Harmony is 2 or more notes played at the same
time.
It normally takes at least 2 people to sing
harmony or 2 instruments to play harmony.
Exceptions are piano, guitar, banjo, harp, (or any
stringed instrument

31. FORM
Form: is how the music is setup
The founding level of musical form can be divided into two
parts:
•The arrangement of the pulse into accented and unaccented
beats, the cells of a measure that, when harmonized, may
give rise to a motif or figure.
•The further organization of such a measure, by repetition and
variation, into a true musical phrase having a definite rhythm
and duration that may be implied in melody and harmony,
defined, for example, by a long final note and a breathing
space. This "phrase" may be regarded as the fundamental unit
of musical form: it may be broken down into measures of two
or three beats, but its distinctive nature will then be lost. Even
at this level, the importance of the principles of repetition and
contrast, weak and strong, climax and repose, can be seen

32. KEY
In music theory, the key of a piece is the tonic
note and chord which gives a subjective sense of
arrival and rest. Other notes and chords in the
piece create varying degrees of tension, resolved
when the tonic note and/or chord returns.
In music a key is the major or minor scale
around which a piece of music revolves. A song in
a major key is based on a major scale. A song in a
minor key is based on a minor scale.

33. MUSICAL TEXTURE
Musical texture refers to the number of layers, as well as the type of
layers, used in a composition and how these layers are related.
Texture may be monophonic, polyphonic or homophonic.
1. Monophonic - Refers to a single melodic line. An example of this
is the plainchant or plainsong; a form of medieval church music
that involves chanting. Plainchant doesn't use any instrumental
accompaniment, instead, it uses words that are sung.
Where might you encounter monophonic texture?
•Unison singing at a religious service
•"Happy Birthday" at a birthday party
•A lone bugle playing "Taps" (hear taps: )
•The singing of "The Star-Spangled Banner" at a baseball game
•A composition for solo flute

34. 2. Polyphonic - Refers to two or more melodic
lines. An example of this is the French chanson, a
polyphonic song that was originally for 2 to 4
voices. Polyphony began when singers started
improvising with parallel melodies, with emphasis
on fourth (ex. C to F) and fifth (ex. C to G) intervals.
Where might one encounter polyphonic texture?
•Vocal and instrumental music from the
Renaissance through the Baroque
•Music for large instrumental ensembles
•Religious choral music
•A round or canon

35. Homophonic
Homophonic (or homophony) is the texture we
encounter most often. It consists of a single,
dominating melody that is accompanied by chords.
Sometimes the chords move at the same rhythm as the
melody; other times the chords are made up of voices
that move in counterpoint to each other. The important
aspect is that the chords are subservient to the melody.
Where might one encounter homophonic texture?
•Most popular music styles (rock, folk, country, jazz,
etc.)
•Accompanied vocal music from the Middle Ages to the
present
•Hymn singing during a religious service

36. STYLES OF MUSIC
1.The Middle Ages (450-1450)
The traditions of Western music can be traced back to the
social and religious developments that took place in Europe
during the Middle Ages, the years roughly spanning from
about 500 to 1400 A.D. Because of the domination of the
early Catholic Church during this period, sacred music was
the most prevalent. Beginning with Gregorian Chant, sacred
music slowly developed into a polyphonic music called
organum performed at Notre Dame in Paris by the twelfth
century. Secular music flourished, too, in the hands of the
French trouvères and troubadours, until the period
culminated with the sacred and secular compositions of the
first true genius of Western music, Guillaume de Machaut.

37. 2. The Renaissance (1450-1600)
The Renaissance was a time of rebirth in learning, science, and
the arts throughout Europe. The rediscovery of the writings of
ancient Greece and Rome led to a renewed interest in learning
in general. The invention of the printing press allowed the
disbursement of this knowledge in an unprecedented manner.
The invention of the compass permitted the navigation of the
world's oceans and the subsequent discovery of lands far
removed from the European continent. With Copernicus'
discovery of the actual position of the earth in the solar system
and Martin Luther's Protestant Reformation, the Catholic
Church lost its grip on society and a humanist spirit was born.
This spirit manifested itself in the painting and sculpture of
Michelangelo, the plays of Shakespeare, and in both the sacred
and secular dance and vocal music of the greatest composers
of the era.

38. 3. Baroque Style (1600-1750)
For its time, Baroque was crazy and uninhibited.
The music of this period is emotional and filled
with little frills and decorations that shocked and
amazed its listeners. Baroque was often fast
paced with great and quick use of scales and
violent changes in volume and melody. Today
you might not think of it as an exciting type of
music, but if you compare it to the Classical style
you can tell immediately that baroque did have
more action in its pieces. Some say the greatest
composer of all time wrote in this period: Johann
Bach.

39. 4. Classical Style (1750-1820)
Ancient Greek art and culture had always been loved
and emulated by European artists. This is especially
evident in the Classical style (hence the name). The
mathematical approach to music of Pythagorus and
Aristotle took precedence in this period. It was the aim
of Classical composers to achieve "perfect" music. That
is, music that was completely perfect from a technical
standpoint. This restriction led to very conservative
music, strong but not really emotional. This is how
most of Classical style music went and how the
composers composed it (with the notable exception of
Beethoven).

40. 5. Romantic Style (1820-1900)
This was a stark reversal of the Classical style of music;
Romantic music was chock full of emotions and had no
concern for Classical rules. It is said that Beethoven was
almost singly responsible for the transition from Classical
style to Romantic. Beethoven bridged the gap by infusing
his later works with much emotion, and yet keeping within
the Classical bounds. Soon the emotion overran the
Classical bounds and Romanticism was born. There are
many great composers of this era, including Carl Maria von
Weber, Fredric Chopin, Hector Berlioz, and Johannes
Brahms. Romantic music created two smaller movements
in music: music about legends, and nationalistic music.

41. 6. The Twentieth Century (1900-1945)
During the Twentieth Century, tone color became more
important than ever before. Many techniques that
were considered uncommon before were being used
during this time. Many composers used noiselike and
percussive instruments. The glissando, a rapid slide up
or down the scales, was used more. The percussion
instruments became a major part of twentieth century
music. They helped give variety of rhythm and tone
colors. The music did not blend as well as it did during
the Romantic times because the composer often wrote
for each different section of the orchestra to have a
different tone color.

42. 7. Contemporary classical music
can be understood as belonging to the period that started
in the mid-1970s to early 1990s, which includes
modernist, postmodern, neoromantic, and pluralist music.
However, the term may also be employed in a broader
sense to refer to all post-1945 musical forms

43. 8. Modern Period (21st Century)
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.I484-86