ELEMENTS OF MUSIC

RHYTHM (Beat, meter, tempo, syncopation)

 Rhythm is the element of “TIME” in music and it also the flow of the music.

Duration: how long a sound (or silence) lasts.

Bar – division of beats
Meter – Beats organized into recognizable/recurring accent pattern.
Syncopation – an “off-the-beat” accent (between the counted numbers)
Retardando – gradually SLOWING DOWN the tempo.
Accelerando – gradually SPEEDING UP the tempo.
Rubato – freely and expressively making subtle changes in the tempo. (A technique commonly encountered in music
of the Romantic era.)

DYNAMICS (Forte, piano, [etc.], Crescendo, decrescendo)

The term used to describe dynamic levels are in Italian:

Italian term symbol description

Pianissimo [pp] = Very quiet

Piano [p] = Quiet

Mezzo-piano [mp] = Moderately quiet
Mezzo-forte [mf] = Moderately loud

Forte [f] = Loud

Fortissimo [ff] = Very Loud

MELODY (Pitch, theme, conjunct, disjunct)

 Is a succession or sweet arrangement of sound.

Melodies can be described as:
 Conjunct – smooth; easy to sing or play (dikit dikit yung tono)
 Disjunct – disjointedly ragged or jumpy; difficult to play or sing (hiwalay hiwalay yung tono)

HARMONY (chord, progression, consonance, dissonance, key, tonality, atonality)

 It is the sound of 2 or more notes heard simultaneously.

Harmony is often described in terms of its relative:
 Dissonance – a harsh-sounding harmonic combination.
 Consonance – a smooth-sounding harmonic combination.

TIMBRE or TAMBER
 The character of a sound distinct from its pitch, length, or intensity; tone color.

TONE COLOR (Register, range, instrumentation)
TEXTURE (Monophonic, homophonic, polyphonic, imitation, counterpoint)
 Refers to the number individual musical lines.
3 DIFFERENT TYPES OF TEXTURE
 MONOPHONIC – It uses only one melodic line. There is no accompaniment or harmony.
 HOMOPHONIC – it has two or more notes sounding at the same time. It can be performed with a soloist
and accompaniment.
 POLYPHONIC – It has two or more independent melodies performed alternately. Most common example of
this is the “CANNON and FUGUE”.

FORMS (Binary, ternary, strophic, through-composed)

 Are used to describe the order of the section.

Phrase – is a short, musical idea or one sentence.
Section – where phrases are put together or one paragraph.

MUSIC OF MINDANAO

The Musical and Cultural Tradition in Mindanao is divided into two; the Islamic and non-Islamic
 The Islamic is observed among the Maguindanaons, Maranaos, Yakans, Samals, and Tausugs. The Non-
Islamic which is practiced by Manobos, Bagobos, Subanons, Bilaans, Tirurays, and T’bolis.

ISLAMIC
 The vocal and instrumental music of the Islamic communities. The indigenous Islamic communities of
Mindanao have various vocal forms for different occasions. Their vocal music is focused on topics dealing with
life cycles, folk epic, religious chants, and Islamic rites. Aside from vocal music, the Islamic communities
are also well known because of their very prominent musical ensemble called the “kulintang
ensemble”
 SIKSIKA OH APO – example of Maguindanaon song about a child’s inquiry about the things around him.

NON-ISLAMIC
 Vocal and non-Islamic music of the Non-Islamic communities. The non-Islamic communities of the Mindanao
region also Love to sing about nature, life, marriage, work or occupation, rituals, epic, and even
about death.
 Dilat-en – is a lullaby song. It is a lullaby since it was stated that it is a song used to lull a baby to sleep.

MUSICAL INSTRUMENTS OF MINDANAO

1. Kutyapi or Kudyapi – is a Philippine two-stringed fretted boat-lute. It is four to six feet long with
nine frets made of hardened beeswax. The instrument is carved out of solid soft wood such as that from the
jackfruit tree.
2. Karaga – is a guitar made of bamboo where the strings are slit from the bamboo itself. The bamboo is split
and tied back in both ends, leaving a slit as resonator. The guitar has strings all around it. This is popular in
Eastern Mindanao.

AEROPHONES (WIND INSTRUMENTS)

3. Sahunay – is a bamboo flute, leaving six holes for the fingers and trumpet Made of coconut leaf. It is about
50cm long and 3cm in diameter. This is a bamboo flute of the Tausugs in Sulu.
 4. Kubing – is a mouth-resonated idioglot lamellaphone idiophone (Jew’s sharp) of the Philippines. This
instrument is from the Southern Philippines where it is used in Muslim communities on the Island of Mindanao
and in the Sulu Archipelago.
5. Palendag – also called as Pulalu (Manobo and Mansaka), palandag (Bagobo), Pulala (Bukidnon),
and Lumundeg (Banuwaen) is a type of Philippine bamboo flute, the largest one used by the
Maguindanaon, a smaller type of this instrument is called the Hulakteb (Bukidnon).

IDIOPHONES (PERCUSSION INSTRUMENTS)

6. Kulintang – is a set of eight knobbed gongs in graduated sizes from largest to smallest mounted in a
wooden frame, about a meter long. Muslim carvings decorated the frame. The kulintang is played by striking
the gongs with two pieces of wood, about 12 inches long while the player squats on the floor. The
instruments is popular in Sulu.
7. Gabbang – is similar to a xylophone. It is made of wooden box with one end wider than the other, and with
an open top. Across top, wooden bars of different lengths are placed to fit the shape of the box, about 1 cm
from each other. It is played by striking the wooder bars with a wooden hammer. This instrument is popular
in Sulu.
8. Bunkaka or Bilbil – is a bamboo musical instruments used by the Tinguians. It is a two-proged bamboo
struck against the palm of one hand.
9. Agung – hangs from horizontal pole or wooden frame. The player stands besides the rim of the gong where
he inserts his left arm through the ropes which suspend the instrument to position his hand comfortably at
the knob. On the righ hand, the player hold a mallet padded with rubber.
10. Babendio – is small gong with thin rims and low central knobs. It is struck with thin bamboo sticks to
produce a metallic sound.
MEMBRANOPHONES (DRUM INSTRUMENT)
11. Dadakan – is a goblet-shape drum, which has a single head covered with goat, lizard, or snake skin. It is
struck with two thin bamboo sticks about 18 inches length.

EAST ASIAN MUSIC

JAPAN
 Japanese vocal music is quite different from Western vocal music and is based on the intervals of human
breathing rather than mathematical timings.
 And how Japanese musicians show their spiritual self-mastery in mastering his/her instrument more than
simply perfecting a technique of some sort or how they give value to their performance and composure.

INSTRUMENTAL MUSIC OF JAPAN

 Traditional Japanese music is basically meditative in character, its performance is highly ritualized, as much in
the music itself, as in the composure of the musicians when performing it.
 The performance of Japanese music has traditionally been of a spiritual character, similarly to a Martial arts
and other forms of arts such as the tea ceremony and calligraphy.
PERCUSSION INSTRUMENTS (MEMBRANOPHONE)
 ODAIKO (BIG DRUM) – the physical energy and sheer excitement of an odaiko performance is an integral
part of many Japanese matsuri (festivals)
 TSUZUMI (HOURGLASS SHAPE) – there a two types of TSUZUMI; KOTSUZUMI (smaller) and OTSUZUMI
(larger). They are used in both noh and kabuki performances. The KOTSUZUMI is held on the right
shoulder and the player alters the tone by squeezing the laces. The OTSUZUMI is placed on the left thigh.
 TSURIDAIKO – a large hanging barrel drum.
 TAIKO – Is a Japanese drum that comes in various sized and is used to play a variety of musical genres.
STRING INSTRUMENTS (CHORDOPHONE)
 KOTO – Is a 13 strings zither, about two meters long and made of paulownia wood. It is plucked using on
the thumb and first two fingers of the right hand, while the left hand can be used to modify pitch tone. It is
used in an ensemble in GAGAKU or a solo instrument.
 SHAMISEN – is a plucked string instrument. It is construction follows model similar to that of a guitar or a
banjo, employing neck and strings stretched across a resonating body.
  BIWA – It is a Japanese short necked fretted lute, often used in narrative storytelling. The BIWA is the
chosen instrument on Beten, the goddess of music, eloquence, poetry, and education in
Japanese Shinto.
WIND INSTRUMENTS (AEROPHONE)
 SHAKUHACHI – the most famous flute made from bamboo. It is four or five finger holes on the front
face and a thumbhole on the rearface. As with other instruments above, it was imported from China with
GAGAKU.
 NOKAN – a parallel, bamboo flute (fue) is the melodic instrument used in noh. The melody of the flute has
no specific pitch relationship with the melody of the chanting.
 HICHIKIRI – is a double reed Japanese flute (fue) used as one of two main melodic instrument in Japanese
GAGAKU music, the other being the RYUTEKI.
 SHO – is a Japanese free reed musical instrument that was introduce from China during the Nara period.
 SHINOBUE – it is also called takubue in the context of Japanese traditional arts. It is a Japanese transverse
flute or fue that has a high pitch sound.
 RYUTEKI – Literally “dragon flute” is a Japanese transverse fue made of bamboo. It is used in GAGAKU.

CHINA
 For several thousand years, Chinese culture was dominated by the teachings of the philosopher Confucius, he
conceived music in the highest sense as a means of calming the passion of dispelling of the unrest and lust,
rather than as a form of amusement.
CHINESE MUSICAL INSTRUMENTS
 YUEQIN – moon-shaped lute with shorter neck and four strings, played with a spectrum, used for
accompanying local operas.
 PIPA – Four-stringed lute with 30 frets and a pear-shaped body. This instrument has an extremely wide
dynamic range and remarkable expressive power.
 ERHU – Two-stringed fiddle and one of the most popular Chinese instruments. It is used as a solo instrument
as well as in small ensembles or large orchestra, and by various ethnic groups.
 YUNLUO – Literally “cloud gongs” or “cloud of gongs” the yunluo is a set of ten small tuned gongs
mounted in a wooden frame. The yunluo’s gongs are generally of equal diameter but different thicknesses.
The thicker the gong ls produce a higher pitch.
 SHENG – Sheng, or Chinese mouth organ, looks like a set of panpipes, with 12 to 36 bamboo pipes. Sheng
is one of the oldest Chinese musical instruments.
 DIZI – Dizi is a traditional Chinese flute. It can have a membrane over an extra hole to give the
characteristic rattle effect.
 ZHENG – An ancient Chinese instrument that has an arched surface and an elonged-trapezoid with 13 to 21
strings stretched over individual bridges. Its playing range spans three to four octaves.
 PENGLING – these are two small bells made of high-tin bronze, without internal clappers, and hemisphericor
bottomless gourd-like in shape.

KOREA
 Korea’s folk music tradition, with its generous use of bright rhythms and melodies, offers a more energetic
and capricious contrast to the nation’s collection of classical music work.
 Folk music represents the soul and sound of traditional Korean villages with an energetic array of music forms
including numerous folk songs, various forms of instrumental pieces, pansori, and shaman ritual music.
CHONG-AK
 Means literally the “right or correct music” and its tradition includes both instrumental and vocal music
which were cultivated mainly by the upper-class literacy of Joseon Society.
 Also refers to ensemble music for men outside of the court. In this category, three important terms are a-ak,
tang-ak, and hyang-tak.
SOG-AK
 It is a category of Korean music traditionally associated with the lower classes or for the general public and
are vibrant and energetic.
 It includes genres such as pansori and minyo.
INSTRUMENTAL MUSIC OF KOREA
STRING INSTRUMENTS (CHORDOPHONE)
 KAYAGUM – is a traditional Korean Zither-like string instrument with 12 strings, although more recently
variants have been constructed with 21 or more number of strings. It is probably known as the best
traditional musical instrument of Korea.
 GEUMUNGO – this 6 strings plucked zither is a traditional Korean stringed musical instruments of the zither
family of instruments with both bridge and frets.
 HAEGUM – 2 string vertical fiddle that has a rod-like neck, a hollow wooden sound box, two silk strings and
is held vertically on the knee of the performer and played with a bow.
WIND INSTRUMENT (AEROPHONE)

 PIRI – used in both folk and classical music of Korea. It is made of bamboo.

PERCUSSION INSTRUMENTS (MEMBRANOPHONE)

 CHANGGO – it is the most widely used drum in the traditional music of Korea. It is available most kinds and
consists of an hourglass-shaped body with two heads made from animal skin.

MUSIC OF SOUTHEAST ASIA

MUSIC OF INDONESIA
 Is an archipelago in Southeast Asia comprising approximately 17,500 Islands. With over 238 million people,
Indonesia is the world’s fourth most popular country and is the fourth biggest nation in the world.
 Through interaction with other cultures such as Indian, Arabic, Chinese, and European, a wide range of
musical styles has been developed. Today the contemporary music of Indonesia is popular not only in
the region but also in the neighbor countries.
TWO BASIC KINDS OF INDONESIAN MUSIC SCALE
 SLENDRO – five(5) equidistant tones in octave.
 PELOG – heptatonic (7) tone scale with semi tone.
Both vocal and instrumental music in Indonesia use slendro and pelog scales.
 Polyphonic stratification kind of melody is a result of hocket/interlock.
 Interlocking is a common technique used in gong ensembles.
Irama – is an Indonesian term for tempo.
GAMELAN
 The Gamelan or Gamelan orchestra is the most popular form of music in Indonesia.
 There are many types of Gamelan but Javanese and Balinese Gamelan are the most famous. It
contains a variety of instruments such as metallophones, xylophone, kendang, and gongs; bamboo
flutes, bowed, and plucked strings.
 Vocal music is used as ornamentation of the Gamelan. It is important as gamelan.
1. Pesindhen – is a female soloist singer who sings with a Gamelan.
2. Gerong – refers to the unison male chorus that sings with the gamelan.
JAVANESE GAMELAN
 Used for court music.
 Percussion dominated
 Style of playing gives solemn character.
BALINESE GAMELAN
 Used for sacred music.
 Consist of metallophones and mostly gongs.
 Sudden change of tempo and dynamics are the basic characteristics.
 Sounds are very bright and brilliant.
 Used of fast and rattling sounds of cymbals make distinctive characters.
MUSIC OF THAILAND
 Thailand’s name in the Thai language is Prathet Thai.
 Formerly known as Siam.
 The country is also called “Muang Thai”, which means “Land of the Tree” because it has never been
colonized by any European nation.
 Thai music is a conglomeration of Asian influences.
 The 1st evidence of Thai music was found during reign of the Ayutthaya Kingdoms.
CHARACTERISTICS OF THAI MUSIC
 Uses pentatonic scale
 Melody is heterophonic
 Uses duple meter
 Uses layered rhythms and pitches rather than the usual harmony
 Purely oral in culture and has no written notational styles.
 Calms the mind and satiates the soul.
THAI CLASSIC ENSEMBLES
PIPHAT
 A kind of ensemble in the classical music of Thailand, which features wind and percussion
instruments. It is a mid-sized orchestra performed in either outdoor styles with hard mallets or indoor styles
with padded mallets. It plays for court ceremonies and theatrical presentations.
KRUANG SAI
 An orchestra that combines some of the percussion and wind instruments with an expanded
string section. This ensemble is used for instrumental indoor performances and used to accompany the
stick puppet theater.

MAHORI
 Accompanies solo and choral singin together with strings, percussion, and wind instruments. It is
a small ensemble traditionally played by women in the courts of Central Thailand and Cambodia. The vocalist
is usually accompanied by the so sam sai.

MUSIC OF CAMBODIA
 Cambodia is officially known as the Kingdom of Cambodia.
 It is also known as Kampuchea
 Cambodia was the center of the Khmer (Cambodian) Kingdom of Angkor.
 Cambodia is bordered by Thailand to the northwest, Laos to the northeast, and Vietnam to the easy, and the
Gulf of Thailand to the southwest.
 Capital: Phnom Penh
 Official Language: Khmer
 Denonym: Cambodian
CAMBODIAN COURT MUSIC
 Roughly similar to the court music of Java, Indonesia.
 Features choruses with large orchestras based on the struck keys and gongs.
 Cambodian people also absorbed and adopted Indian, Chinese, European, and other cultures to
suit their own traditions and tastes that resulted in a distinct Cambodian culture.
PINPEAT
 The pinpeat is a Cambodian musical ensemble or orchestra.
 It is usually accompanies ceremonial music of the royal courts and temples.
 The pinpeat is analogous to the piphat ensemble of Thailand.
 The orchestra consists of approximately nine or ten instruments, and mainly wind and percussion.
THE PINPEAT INSTRUMENT
1. SKOR THOM
 Two big drums (similar to taiko drums of Japan) played with drumsticks (membranophone)
2. SAMPHOR
 A double headed drum played with hands (membranophone)
 3. ONEAT
 Xylophone (Idiophone)
4. KONGVONG
 Ging circles (Idiophone)
5. CHHING
 Finger Cymbals (Idiophone)

MUSIC OF MYANMAR
 Commonly known as Burma
 Located in the Western portion of mainland Southeast Asia.
 In the Burmese language, the country has been known as Myanmar (or more precisely, Myanma
Prañ) since the 13th century.
SUANG
 A “harp” is called Saung in Myanmar. There were basically two (2) types: Byat Saung and Saung
Gauk (bent harp). There is almost nobody who can play Byat Saung these days. Today Saung generally
refers to the bent harp. In the 10th century AD, musicians used only 5 strings in Myanmar harp, which later
increased to 7 strings in the 18th century. During King Bodaw Pharar the art of playing harp was much
promoted by the king and was improved to sing up to 13 strings.
HNE
 The Hne is a colonical shawn of double reed used in the music of Myanmar.
 Aerophone-Reed Vibrated double reed.
 Has a sextuple reed (called hnegan) made from the young leaf of the toddy palm, which is soaked for six
months. The body of the HNE is made of wood, with a conical bore and seven finger holes at the front, set in
a straight line, with a bell.

KA SI (KETTLE GONG)
 The kettle gong or what we called Ka Si is often associated with the magico-religious practice of
summoning rain.

UNDERSTANDING THE DISTINCT CHARACTERISTIC OF THE WORLD MUSIC

(MEDIEVAL, RENAISSANCE, AND BAROQUE)

MUSIC OF THE MEDIEVAL PERIOD (700s – 1400s)
CHARACTERISTICS OF THE GREGORIAN CHANTS
 Monophonic
 Free meter
 Modal
 No regular repeating rhythm
 Usually based on Latin Liturgy
 Use of Neume notation
THE GREGORIAN CHANT
 Is the central tradition of Western plainchant, a form of the monophonic, unaccompanied sacred song of the
Western Roman Catholic Church.
WHO WROTE THE GREGORIAN CHANT?
 The chant was probably named after Pope Gregory the Great. When Charlemagne had become Holy Roman
Emperor he made everyone in Europe use this Gregorian Chant.
During the latter part of the Medieval Period, secular music which was not bound by Catholic Traditions emerged.
Most of these songs were performed across Europe by groups of musicians called Troubadours.
CHARACTERISTICS OF TROUBADOUR MUSIC
 Usually monophonic
 Sometimes with improvised accompaniment
 Tells chivalry and country love
 Originated in France
 Written in French Language
FAMOUS COMPOSER OF THE MEDIEVAL PERIOD
 Adam de la Halle (France) 1237 – 1288
His works include:
1. Le Jeu de Robin et de Marion
2. Le Chanson du roi de Sicile

MUSIC OF THE RENAISSANCE PERIOD (1400 – 1600)

 The term Renaissance comes from the word “renaitre” which means “Rebirth, Revival, and
Rediscovery”
 The influence of the Roman Catholic Church started to decline as the new music genre arose.
 Known as the golden age of capella choral music.
CHARACTERISTICS OF RENAISSANCE MUSIC
 Mostly polyphonic
 Imitation among the voices is common
 Melodies are easier to perform because they move along a scale with a few large leaps.
 Use of word painting in text and music
 Melodic lines move in a flowing manner

VOCAL MUSIC OF THE RENAISSANCE PERIOD

MASS

 Is a form of sacred musical composition that sets texts of the Eucharistic liturgy into music.
CHARACTERISTICS OF MASS
 Polyphonic
 May be sung a cappella or with orchestral accompaniment.
 Text may be syllabic, neumatic, or melismatic.
5 MAIN SECTION OF MASS
 Kyrie (Lord Have Mercy)
 Gloria (Glory to God in the Highest)
 Credo (I Believe in One God)
 Sanctus and Benedictus (Holy, holy and Blessed Is He)
 Agnus Dei (Lamb of God)
MADRIGAL
 A secular vocal polyphonic music composition that originated from Italy. It is written and expressed in a
poetic text and sung during courtly social gatherings. It is the most important secular form during the
Renaissance period.
CHARACTERISTICS OF MADRIGAL
 Polyphonic
 Sung a capella
 Through-composed
 Frequently in 3 to 6 voices.
FAMOUS COMPOSERS DURING RENAISSANCE PERIOD
 Giovanni Pierluigi da Palestrina Rome (1525 – February 2, 1594)
 Thomas Morley (1557 – 1602)
MUSIC OF THE BAROQUE PERIOD (1685 – 1750)
 The word Baroque is delivered from the Portuguese word “Barroco” which means “Pearl of irregular
shape”.
 During this time, the arts highlighted grandiose and elaborate ornamentation.
CHARACTERISTICS OF BAROQUE MUSIC
 Melodies sound elaborate and ornamental
 Melodies are not easy to sing or remember
 Primarily contrapuntal textures with some homophony
 Dynamic contrast is the alternation between loud and soft
 Music genres operas, oratorios, suites, toccatas, concerto grosso, fugue
 Orchestra consists of strings and continuo
 Harpsichord and organ are keyboard instruments that are commonly used.

MUSIC GENRES OF BAROQUE MUSIC

CONCERTO

 A form of orchestral music that employs a solo instrument accompanied by an orchestra.

CONCERTO GROSSO
 A form of orchestral music during the Baroque Period wherein the music is between a small group of solo
instruments called concertino and the whole orchestra called tutti.
FUGUE
 A contrapuntal piece, developed mainly by imitative counterpoint.
 It is usually written 3 to 4 parts with the main theme called subject
 The entire piece grows mainly from a single brief tune of strong musical character.

ORATORIO
 A large scale of musical composition for orchestra and voices that incorporates narratives on religious themes.
Unlike usual theatrical works, this is usually performed without the use of costumes, scenery, or action. It is
usually written in the native language for the intended audience.

CHORALE
 Musical compositions that resemble a harmonized version of hymnal tunes of the Protestant Church during
Baroque era.
FAMOUS COMPOSERS DURING BAROQUE PERIOD
 Johann Sebastian Bach (Germany)
Birth: March 21, 1685
Death: July 28, 1750
Bach works:
Fugues – Toccata and Fugue D minor
Concerto Grosso – Brandenburg Concertos
 Antonio Vivaldi
Birth: March 4, 1678 (Venice)
Death: July 28, 1741 (Vienna)
Vivaldi Composition:
The Four Season
 George Friedrich Handel (Germany)
Birth: February 23, 1685
Death: April 14, 1759
Handel’s Composition:
Samson
The Messiah
Hallelujah
MT ELECT 1 QUESTIONS
1. What do you called a plan or pattern for creating a piece of music?
-SCALE
2. What do you called the main idea of the music?

-THEME
3. During the ceremony to raise the flag, Mr. Ben sang the national anthem alone. What kind of musical texture
does Mr. Ben produce?

-MONOPHONIC
4. Which type of texture in music is made of two or more melodies sounding at the same time?
-POLYPHONIC TEXTURE

5. What do you call this group of stringed instruments that are played with a pick?
-PLECTRUM INSTRUMENTS
6. Which of these Filipino Marching Bands makes use of bamboo aerophones and other instruments ?

-BANDA KAWAYAN
7. Which of the following Malay folk songs popular in Indonesia, Malaysia, and Singapore literally
translates as “loving feeling”?
-RASA SAYANG
8. What meter is used in the Japanese song “Mo Li Hua”?

-4/4 OR PENTATONIC SCALE

9. How is the “Arirang” song classified?

-LOVE STORY
10. Who is the well-known trouvère poet and musician of French origin?

-RAOUL DE HOUDENC

11. If the song Mo Li Hua from China means Jasmine flower, What does Sakura mean?
-CHERRY BLOSSOM

12. Which of the following is Myanmar’s national musical instrument?

-SAUNG GAUK
13. What is the Indonesian word for tempo?

-IRAMA
14. What do you call the five-tone musical scale system in Indonesia?

-SLENDRO (PENTATONIC SCALE)

15. The time signature of Mo li Hua is in 4/4. How can we describe the rhythm of the folksong?
-Mo Li Hua is composed in 4/4. It is meant to be played with “beauty and grace”. The tempo ranges from
68 to 76 in the song. (BY METER/BEAT)
16. Which famous and well-respected group of traveling poets and musicians lived during the Middle
Ages?
-TROUBADOUR
17. Which of the following does not describe Troubadour Music?
-MONOPHONIC
18. What era gave rise to the term renaitre, which means “rebirth,” “revival,” or “rediscovery”?
-RENAISSANCE
19. Which of the following types of music is characterized by secular vocal polyphonic music composition
written and expressed in a poetic text?
-A MADRIGAL
20. What do you call a large-scale musical composition for orchestra and voices that includes religious
narratives?
-ORATORIO