NCEA Level 3 Music Studies flashcards

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

Sonata form

A large-scale structure in three functional parts: exposition presenting first and second subjects in contrasting keys, development exploring and fragmenting themes, and recapitulation resolving both subjects into the tonic key.

Perfect cadence

A cadence moving from chord V to chord I with both chords in root position and the tonic in the top voice, producing a conclusive close to a phrase or section.

Interrupted cadence

Also called a deceptive cadence: chord V resolves unexpectedly to chord vi rather than I, creating a sense of continuation or surprise instead of final closure.

Pivot chord modulation

A modulation where a single chord belongs to both the old and new keys, functioning as a diatonic chord in each before the new key is confirmed by its dominant and tonic.

Secondary dominant

A chromatic chord that is the dominant (V) of a scale degree other than the tonic, such as V/V, written with a slash and usually resolving to that target chord.

Twelve-bar blues

A twelve-bar strophic form using chord I for bars 1–4, IV for 5–6, I for 7–8, V–IV for 9–10 and I–V for 11–12, with the harmonic rhythm often varied.

Rondo form

A structure built on a recurring principal theme alternating with contrasting episodes, typically ABACA or ABACABA, where the refrain returns in the tonic key each time.

Hemiola

A rhythmic device where the perceived grouping shifts against the notated metre, commonly turning two bars of 3/4 into three groups of two beats.

Compound time

A metre in which each beat divides into three equal parts, notated with upper numerals 6, 9 or 12 over 8, such as 6/8 with two dotted-crotchet beats per bar.

Heterophonic texture

A texture in which two or more performers simultaneously present the same melodic line with improvised or ornamental differences, common in many non-Western and folk traditions.

Polyphonic texture

A texture combining two or more independent melodic lines of broadly equal importance, either imitative as in a fugue or free as in much Renaissance polyphony.

Transposing instruments

Instruments whose written pitch differs from sounding pitch, such as clarinet in B♭ sounding a major second lower and horn in F sounding a perfect fifth lower than written.

Douglas Lilburn

New Zealand composer (1915–2001) regarded as the founder of NZ art music, known for the 'Aotearoa' Overture, three symphonies and pioneering electronic works at Victoria University.

Dunedin Sound

A New Zealand indie style of the 1980s associated with Flying Nun Records, marked by jangly guitars, lo-fi recording, DIY ethics and acts such as The Clean and The Chills.

Taonga pūoro

Māori traditional musical instruments, including the pūtātara conch trumpet, kōauau and putorino flutes and pūrerehua bullroarer, considered taonga protected under the Treaty of Waitangi.

Waiata

Māori song, encompassing genres such as waiata tangi laments and waiata aroha love songs, often performed in group unison with poi or haka movement and handed down orally.

Flying Nun Records

A New Zealand independent label founded in Christchurch in 1981, central to releasing the Dunedin Sound and later acts including Straitjacket Fits and The Bats.

Through-composed form

A structure in which new music is written for each successive section without substantial repetition of earlier material, common in art song and progressive rock.

Theme and variations

A form presenting a self-contained theme followed by successive variations that alter melody, harmony, rhythm, texture or timbre while retaining recognisable links to the original.

Syncopation

The deliberate accenting of weak beats or off-beats against the prevailing metre, producing rhythmic tension common in jazz, reggae and popular styles.

Modal interchange

The borrowing of chords from a parallel mode, such as using chords from the natural minor in a major key, to add colour without changing the tonic.

Con sordino

An instruction to play with a mute, altering an instrument's timbre and reducing volume, as in muted strings or brass during softer or more mysterious passages.

Flutter-tonguing

A wind and brass technique in which the performer rolls the tongue while blowing, producing a rapid growling or fluttering timbre used for dramatic effect.

Verse–chorus form

A popular-song structure alternating verses, which advance the narrative with changing lyrics, and a repeated chorus that carries the main hook and title.

Lead-sheet notation

A compact score showing melody on a single staff with chord symbols above it, used by rhythm-section players to improvise accompaniments from a harmonic framework.

Imitation

A polyphonic technique where one voice presents a melodic idea and other voices enter with the same idea in turn, at the same or a different pitch.

Kōauau

A short Māori end-blown flute traditionally made from wood or bone, with finger holes and no notch, used in solo laments and as a taonga pūoro.

Pūtātara

A Māori conch-shell trumpet sounded by lip vibration through a mouth hole, used for signalling and ceremony and classified among taonga pūoro.

Poi

A Māori performance art in which weighted balls on cords are swung rhythmically in patterns, accompanying waiata and demonstrating coordination, often performed by women.

Haka

A vigorous Māori group performance combining stamping, chanting, facial expression and posture, with varieties including haka taparahi (no weapons) and peruperu (weapons).

Strophic form

A song structure in which the same music is repeated for every verse while the lyrics change each time, typical of folk ballads and many hymns.

Counterpoint

The art of combining independent melodic lines that sound harmonious together, governed by rules of voice leading, consonance and contrary or oblique motion.

Ostinato

A short musical pattern repeated persistently, often in the bass, while other parts change above it; examples include ground basses and riff-based rock accompaniments.