HSC Music 2 flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Perfect authentic cadence

A cadence moving from dominant to tonic with both chords in root position and the soprano finishing on the tonic note. It is the strongest cadential close in tonal music.

Imperfect authentic cadence

A dominant-to-tonic cadence that fails at least one perfect condition: either chord is inverted, or the soprano does not end on the tonic. It closes more softly than a perfect cadence.

Interrupted cadence

A cadence moving from dominant to submediant, typically V to vi in a major key. It defers resolution and is often called a deceptive cadence in some traditions.

Plagal cadence

A cadence moving from subdominant to tonic, IV to I. It is common at hymn endings and is sometimes called the amen cadence because of that liturgical association.

Half cadence

A cadence that pauses on the dominant chord, usually approached from tonic or subdominant. It creates an unfinished, questioning effect and often opens a phrase.

Pivot chord modulation

A modulation where a single chord belongs to both the old and new keys, functioning diatonically in each. It smooths the transition by reinterpreting shared harmonic material.

Additive rhythm

A rhythmic approach built by adding unequal durational units rather than dividing a fixed cycle evenly. It produces asymmetric patterns common in Eastern European and some Australian works.

Compound metre

A metre in which each beat divides into three equal parts, indicated by upper numerals 6, 9 or 12. Beaming groups notes by beat rather than by single unit.

Peter Sculthorpe style

An Australian composer whose music often uses sustained drones, irregular rhythmic cycles and references to Indigenous and Asian materials. Works include Kakadu and Earth Cry.

Ross Edwards maninya style

A rhythmic, dance-like style using pentatonic melodic patterns and lively pulse. It contrasts with his sacred style, which is sustained and meditative.

Elena Kats-Chernin

An Australian composer born in Uzbekistan whose works combine driving rhythmic energy with lyrical melody. Her piece Eliza Aria became widely known through a advertising campaign.

Nigel Westlake

An Australian composer and clarinettist known for film scores and concert works. Antarctica and Out of the Blue are frequently studied for their orchestral colour and imagery.

Anne Boyd

An Australian composer influenced by Asian music and landscape, writing slow, meditative works. Her opera Daisy Bates and works such as As I Crossed a Bridge of Dreams are studied.

Ostinato

A short musical pattern repeated persistently throughout a passage. It can be rhythmic, melodic or harmonic and often underpins minimalist and drone-based textures.

Pedal point

A sustained note held while harmonies change around it, usually in the bass. It creates tension through dissonance that resolves when the harmony realigns.

Through-composed form

A structure with continuously new musical material and little or no repetition of whole sections. It suits narrative texts and avoids the symmetry of strophic or ternary designs.

Arch form

A symmetrical structure where material recurs in reverse order around a central point, often labelled ABCBA. It is common in twentieth-century works seeking balance without tonal return.

Motivic fragmentation

A development technique that isolates a short fragment of a motive and repeats or transforms it. It generates unity while creating instability and forward drive.

Rhythmic augmentation

A transformation that lengthens a motive's note values, usually doubling or quadrupling them. It preserves pitch content while slowing the musical surface.

Retrograde inversion

A transformation that reverses the order of pitches and flips their direction, combining retrograde and inversion. It is common in twelve-tone and motivic development.

Horn in F transposition

A horn in F sounds a perfect fifth lower than written, so a written C sounds as the F below. Scores must be transposed accordingly for concert pitch.

B-flat clarinet transposition

A B-flat clarinet sounds a major second lower than written, so a written C sounds as B-flat. Notation software must apply this to produce correct sounding pitch.

Composition rationale

A written statement explaining the structural, stylistic and technical decisions in a submitted work. It supports the score as part of the composition portfolio.

Heterophonic texture

A texture in which two or more parts perform the same melody simultaneously with slight variation in ornamentation or rhythm. It is common in many Asian musical traditions.

Homophonic texture

A texture with a melody supported by chords moving largely together in the same rhythm. It contrasts with polyphony, where independent lines are heard simultaneously.

Annotated performance score

A score marked by the performer with phrasing, dynamics, articulation, tempo and fingering decisions. It documents interpretative choices for the examiner.

Viva voce in performance

An oral component following a performance in which the candidate explains interpretative and technical decisions. Answers should reference score markings and studied recordings.

Program contrast

A selection of works differing in period, style, tempo and texture. Contrast demonstrates stylistic breadth and is assessed in performance programs.

Tone production consistency

Evenness of sound across registers and dynamic extremes. It is assessed through sustained pianissimo and fortissimo passages where control is most exposed.

Intonation reference pitch

A fixed pitch used to tune before playing, such as A440. Checking octaves, fifths and thirds within an ensemble corrects cumulative pitch drift.

Rhythmic security over tempo

The principle that accurate rhythm at a moderate tempo scores higher than unstable playing at a fast tempo. Stability is assessed before speed in performance marking.

Melodic dictation strategy

A sequence for notating a heard melody: identify tonic and mode, then opening and closing intervals, then rhythm, then inner pitches against the harmony.