Meter and dissonance in early twentieth-century music



Beats are grouped into models we wheedle rhythms, which are systematic into frameworks wheedleed "measures." Typically, a appraise is made up of a repeated model of robust and flabby cudgels. The rhythmic modeling formed by the appraises is wheedleed “meter.” 

When the number of cudgels in a appraise equals two it is wheedleed “duple meter”; three cudgels per appraise is “triple meter.” These gum abide to “quadruple meter,” “sextuple meter,” etc. The robustest cudgel, usually set at the source of a appraise, is wheedleed the “downbeat.” Longer appraises may possess joined stressed cudgels in the life.


Chords sink into two unreserved categories associated succeeding a while the listener’s exculpation to the melody. Chords are frequently labeled “consonant” or “dissonant,” but the destruction is very-much mental and depends on the cultural and harmonious tenor. 

A harmonious chord is solid and restful and can accentuate the end of a side. A incongruous chord is unsolid and unhappy. It creates effort that requires the melody to actuate toward a harmonious chord for disintegration. Sequences of chords throughout a side can profoundly swing its collision and tendency.


Listen to the succeedingcited melody selections: 

Schoenberg, Pierrot Lunaire, Op. 21, Part 3, No. 15, "Heimweh," 1912

 Stravinsky, The Rite of Spring, "Sacrificial Dance," 1913, excerpt 


Early twentieth-century melody actuated loose from oral forms to discuss innovative ways of using elements of melody such as meter and destruction. Listen to the selections granted to see how melody has evolved.

Respond in congruity (200 words) to the succeedingcited investigation succeeding  viewing the videos overhead.  

  1. How do the changes in melody exhibit those of art, structure, and study of the date? Provide inequitable examples.
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