Imitation: A fugal technique of
composition, in which one part introduces a theme, or subject which is then answered by the other parts by
reitorating the same theme later in the work. This term is usually
applied to fugal passages in
choral music.
Imperfect
Cadence: See half-cadence.
Impressionism: A stylistic period of composition that sought to put to music only the
most immediate, direct impressions, upon the composer, of a given
subject. Impressionism avoided traditional harmony of thirds, employing more often quartal or quintal tonality.
Impromptu: A short, improvisational-sounding piece.
Improvisation: Spontanious Composition. The performance of music that is composed on
the spur-of-the moment by the performer, usually as a solo, or cadenza. Also used extensively in jazz.
Incidental
Music: Short musical segments that accompany,
or highlight dramatic moments in, a play, or other stage work.
Instrumentation: The art of composing, orchestrating or arranging works for an instrumental ensemble.
Interlude: Short music used to bridge the acts of a play, or the verses of a hymn.
Introduction: The preparatory section, movement, or phrase of a musical work.
Interval: The distance between two notes, in terms of occilations per second. The
difference in one half-step is about 35 beats per second.
Introit: "Entrance". A psalm sung at the start of the Roman Catholic Mass.
Invention: A short, contrapuntal piece.
Inversion: The different forms that a chord may take by changing the chord member
that is the bass of the chord.
Invertible
Counterpoint: counterpoint in which two or more voices can be interchanged for one another.
Ionian
Mode: A medieval mode whose scale pattern is that of playing C to C on the white keys of a
piano. This scale is identical to a major scale.
Italian Sixth Chord: An augmented sixth chord,
which contains a only three tones, as opposed to a German Sixth Chord, or a French Sixth Chord. |
