Music terminology

Here's a list of musical terms that you should be familiar with. Try filling out some of the definition on your own!

Accompaniment

One or more parts to support the soloist(s). Soloists may, for example, be accompanied by other instruments, vocalists, ensembles or technology. Choices of accompaniment are important to the presenting process and need to be justifiable in keeping with the performing conventions of the chosen style. Backing tracks of accompaniments not conceived as such are strongly discouraged.

Annotation

Annotation in music refers to documents, excerpts of scores and other notated examples to which the student adds relevant remarks to deconstruct music, extract musical information and explore the musical construction of a piece. The purpose of annotations is not to explain the music but to extract and collect musical information from an excerpt or piece, or to serve as a tool to draw out relationships and connections between findings.

Audio quality

The acceptable standard of a recorded submission to allow for assessment of all necessary features as outlined in the assessment criteria. Students should pay attention to avoid any crackling or extraneous noises, hissing, cuts or other interference with the communication of students' work.

Authentic

Musically relevant.

Balanced

A systematic and well-rounded study and/or representation of the chosen music.

Commentary

An explanation of the process of experimenting with and developing music with specific reference to the details of the chosen musical excerpts.

Composing

Creating an original piece of music.

Construct

Combine pre-existing material or elements into a sequence or structure.

Conventions

Accepted norms of creating music according to the chosen style, which are determined by historical research and authentic examples.

Creating

Developing original music through different means, such as composing, improvising, arranging through the use of traditional or contemporary instruments and technologies.

Creating exercise

A short creation of 16-32 bars, or 1 minute, notated appropriately for the chosen style. Where the chosen notation is not staff/stave notation, it is recommended that an audio recording is prepared along with the notation. The recording does not have to be of a live performance. The work applies and demonstrates knowledge of the conventions of the chosen context appropriately.

Deconstruct

Break down a musical work to consider and understand musical structures, elements, devices and ideas.

Diverse musical material

The selection of music offering a representative range of examples for study through the four areas of inquiry in personal, local and global contexts. Please note that for the purpose of the assessment tasks, not all examples chosen for the study of music in the course need to be presented.

Diversity and breadth

Diversity and breadth are achieved by the selection of a contrasting range of music across all areas of inquiry, and in various genres and styles. Diversity may also be created by means of expression, purpose and intention, for example, through tempo, keys or modes, techniques, or any other forms that demonstrate diverse musical skills and competencies.

Duet

A musical group comprising of two members in equivalent roles, making distinct contributions to the music. The roles are not those of soloist with accompaniment.

Ensemble

Any musical group comprising of three or more members, which contribute to the music in various capacities depending on the characteristics of their instruments or voices. The roles are not those of soloist with accompaniment.

Essays or reports

Formal written documents that support research theses.

Evaluate

Make an appraisal by weighing the strength and limitations of created or performed works. This may include, but is not limited to, different interpretations, approaches to music-making, the application of musical conventions and practices in practical work, musical impulses or prompts, or the use of musical resources and other material.

Excerpt

A piece or section of a larger musical work which is purposefully selected to demonstrate and illustrate a specific point, be it the use of a specific technique, the state of a piece of work at a specific point in time, the progress made or any other important aspects to satisfy the assessment criteria.

Explore

Inquire into, and search out, familiar and unfamiliar musical practices from different areas of inquiry and in different contexts.

Express

Convey and communicate an artistic message, vision, feeling, mood or interpretation through musical means.

Expression

The use of techniques, musical dynamics and personal knowledge to enhance and express an artistic message, vision, feeling, mood or interpretation of a work.

Communication of the intent and purpose of music in an informed and increasingly mature matter. Expression of intention and purpose is informed by extra-musical and musical information combined with a personal and imaginative musical voice, which are realized within the constraints and musical demands of interpretation.

Extract (noun)

A selected segment of a larger work, chosen for study or illustration.

Extract (verb)

To deduce, derive or draw out essential information or interpretations.

Extra-musical findings

Any information about the music found in research by looking outside of the actual music (not from scores, performances, recordings etc.)

Extra-musical findings are generated from materials about musical works including, but not limited to, journal articles, interviews or documentaries, which are used to extract relevant musical information and to contextualize musical findings.

Global context

A global context refers to musical material that is unfamiliar to students and may include music from a variety of places, societies and cultures. It may include music that the student has not previously connected or engaged with. The music may be from a distant global region, but it may also include music from a closer proximity that has not been previously accessible to the student.

Identify

Provide an answer or select information from a number of possibilities.

Idiomatic use of instruments

Writing and arranging in a way that matches the musical capabilities, accepted timbres, performance styles, technical possibilities and appropriate ranges of the instrument.

Improvisation

The creative activity of devising music within a given moment, rather than over a sustained period of time. Improvisation is both prepared (in terms of stimuli or prompts) and invented on the spot (in terms of personal communication of ideas, techniques and responses to given stimuli or prompts).

Instrument

For the purpose of this course, an instrument includes any sound generating device, including voice. Students are advised to ensure that the choice of instrument allows for the work to satisfy the assessment criteria.

Interpretation

An interpretation will be informed by the original context of the chosen work, but may also be inspired by the interpretations of others. Continued practice, critical research and engagement with the music will shape the musician's personal interpretations.

Listen and respond

Listen to given/chosen music while offering a written or oral response of relevant musical analysis.

Local context

A local context refers to musical material that students have not personally engaged with, but which they have access to, within their community. The musical material may be unfamiliar to the student. The context can include the school community, as well as the greater community (both professional and amateur). Students are encouraged to inquire into, and engage with, music-making practices that are happening around them.

MIDI

Musical Instrument Digital Interface.

Musical analysis

Thoroughly deconstruct music to determine the use and manipulation of identified musical elements, compositional devices and the relationships between them. Evaluate how the findings relate to context, genre and style.

Musical demands

The technical, stylistic and interpretative requirements needed to satisfy the music-making process(es).

Musical findings

Any information found in research by looking at the actual music (for example, studying scores, performances, recordings, and so on).

Musical intent

The purpose of music being created, performed and/or listened to.

Musical material

Any musical idea, complete or not, independent or not, such as motifs, sounds, loops, and so on.
Primary and secondary sources used to derive musical and extra-musical findings.

Musical processes

Musical processes are practical musical activities or steps taken to study, understand and develop musical works.
Musical processes include exploring music in context, experimenting with music and presenting music.

Musical roles

Musical roles are practical functions of musicianship, which involve specific as well as shared set of competencies and skills.
In the DP music course, musical roles are those of researcher, creator and performer. All three musical roles are of equal value in the course.

Notate

To visually represent aurally perceived music through the use of hand-written, printed, or otherwise-produced symbols as appropriate to the musical conventions of chosen style.

Notation (including technology notes)

Notation refers to a representation of sound or (performance) instructions about how sound is to be created, for example, in terms of pitch, rhythm, expression, and so on. Forms of notation should be an effective representation of sound or music, appropriate to the chosen genre or style, including graphic scores, numeric notation, tablature, sargam, solfege, screenshots, technology notes, staff/stave notation, or other forms of visual evidence.
To effectively represent the music, it is advised to choose a visual representation or notation appropriate to the musical conventions of the chosen style.

Organization

Musical work(s) must be structured and presented in a logical and clear form. A well-chosen and intuitive structure is essential to ensure that the presentation is accessible to examiners to identify key features of the submitted work in order for them to award marks in each criterion. Where applicable, the work needs to be submitted with the provided forms, for example, cover pages or track lists that outline key information, such as chosen music, areas of inquiry, chosen contexts, word counts and supporting material.

Performed adaptation

Students adjust or modify music with consideration of the original style and the instrument or voice the music is being adapted for. Students explore the conventions of the original performance practice and apply and adapt them to their own instrument. They prepare notation of the adaption using a system appropriate to their instrument.

Performing as a soloist

Students perform music as an instrumentalist or vocalist on one instrument or voice.

Performing as part of an ensemble

Students perform in an instrumental or vocal group consisting of two or more performers not in a soloist or accompaniment role.

Performing with an accompaniment

Students perform music accompanied by another instrument, ensemble or electronic technology.

Personal context

This includes music that has significance to the student and with which they are most familiar. Students consider their musical identity as a concept that includes music they practically engage with, listen to, and are most familiar with.

Practices (musical)

Musical practices include, but are not limited to, approaches and conventions, beliefs, and ideas, and genres and styles of music-making.
Musical practices are continuously evolving and transforming and include any activities that engage a person with a musical experience.

Primary sources

Primary sources should focus on the music itself, through original representations or interpretations of the music, or people directly involved in the making or creating of the music. Primary sources can include a wide variety of material such as live performances, recordings and scores of original music work, interviews with composers about their work and musical intention, or conversations with performers about their interpretation of a piece music.

Programme notes

Programme notes supplement music selected for presentation by introducing the chosen works, justifying the musical choices, and enhancing the audience's understanding of the music. It is important to remember that programme notes serve as a holistic summary, rather than a detailed discussion of individual works.
Programme notes are an important form of presenting musical knowledge in connection with music portfolios or performances. For the purpose of this course, programme notes are used to justify choices and selections of music, and to explain how the pieces reflect a diversity of skills, musical encounters and perspectives. To justify the choices, students may like to focus on specific concepts, such as causation (for example historical, political or cultural context), time (for example era, season, time of day), conventions (for example musical style), and communication (for example things to listen for) in their programme notes.

Rationale

An exposition of the reasons or objectives for research into or practical work related to musical processes. This should include justifications for decision-making and consideration of the implications of those decisions on the process.

Refine

Rework and enrich existing material.

Reflect

Systematically review and evaluate progress in terms of musical knowledge; competencies and skills; and achievements, as relevant to the task.

Reflection

A personal and critical review of successes and challenges in the process of developing music.

Remix

To adapt, alter, revise and/or transform existing elements to develop new and innovative musical materials, whilst sustaining some attributes or elements of the original.

Replicate

Create an almost exact copy.

Research and findings

The systematic investigation and study of music, including musical works, musical contexts and cultures, musical genres and styles, through primary and secondary sources as well as practical work, in order to analyze data, extract information, understand implications, establish facts and reach new conclusions.

Rhythmic, melodic and harmonic development

The transformation of initial ideas into further and sometimes new musical thoughts. Moving from one musical thought to another. Extension of the nucleus of musical ideas through gradual embellishment and extension of rhythm, melodies and/or harmonies.

Secondary sources

Secondary sources are materials about original works by researchers or musicians that are not directly connected to the original work and therefore help to provide an "outside perspective". Secondary sources can include a wide variety of material, such as critiques, documentaries, journal articles, books and editions of music scores.

Staff/stave notation

Staff/stave notation is a form of Western standard notation.

Statement

A statement is an explanation accompanying practical work and exercises. The statement should include the student's intentions, the stylistic conventions and/or performing practices that the student aims to demonstrate, the challenges and successes of the exercise, and specific points of interest and rationale(s) where conventions or practices have been applied and realized or deliberately disregarded.
Statements are not anecdotal writing but are technical in nature. They must be clearly and concisely written.

Style

A musical type or genre that is characterized by specific features, form and structure, or a typical use of musical elements and compositional devices.

Stylistic demands

The technical and idiomatic requirements to engage with a music-making process in a certain style.

Technical demands

The requirements of a piece or style of music encompassing the techniques or ways in which the music must be performed, how resources are to be employed or how equipment and instruments need to be controlled.

Technical proficiency

Technical proficiency refers to the level of mastery of musical skills that allow a student to access, create, perform, produce or reproduce musical material to a required standard. technical proficiency enables students to interpret musical material and express themselves eloquently a chosen instrument, the use of the voice or another medium. Technical proficiency is improved through regular practice in order to develop and refine psychomotor skills.

Theme and Variation

Modification or transformation of an original theme, melody, musical statement, musical idea or musical form to generate new musical material, whilst sustaining reference(s) to the original.