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Simple Machines Vocab Quiz

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To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

1.Linguistics is the science that studies language. 2.Linguist:Someone who studies linguistics. 3.The Subfields of Linguistics Phonetics deals with the sounds of language. Phonology deals with how the sounds are organized. Morphology deals with how sounds are put together to form words. Syntax deals with how sentences are formed. Semantics deals with the meaning of words, sentences, and texts. Pragmatics deals with how sentences and texts are used in the world (i.e., in context) Text Linguistics deals with units larger than sentences, such as paragraphs and texts. 4.Prescriptive: This approach consists basically of stating what is considered right and wrong in language. 5.Descriptive: This approach, on the other hand, consists of describing the facts. Descriptive linguistics is dedicated to describing the rules of the language, and the language is seen as essentially rule governed. 6.Language is rule-governed, creative, universal, innate, and learned, all at the same time. 7.Linguists understand language as a system of arbitrary vocal signs. 8.Linguistic signs: involve sequences of sounds which represent concrete objects and events as well as abstractions.Signs may be related to the things they represent in a number of ways. 9.Iconic: which resemble the things they represent (as do, for example, photographs, diagrams, star charts, or chemical models). 10.Indexical: which point to or have a necessary connection with the things they represent (as do, for example, smoke to fire, a weathercock to the direction of the wind, a symptom to an illness, a smile to happiness, or a frown to anger). 11.Describe the characteristics of human language: Creative: (The structural elements of human language can be combined to produce new utterances, which neither the speaker nor his hearers may ever have made or heard before.) Rule-governed: (Language is made of rules.) Universal: (There are some aspects that are present in all languages of the world.) Innate:(all humans possess an innate capacity for language, activated in infancy by minimal environmental stimuli. Chomsky) Uniquely human: (Language is what sets us apart from other species. It is what makes us human.) Learned:(Children acquire language from their natural setting.) 12.Differentiate between iconic, indexical and symbolic signs. A. iconic, which resemble the things they represent (as do, for example, photographs, diagrams, star charts, or chemical models) B. indexical, which point to or have a necessary connection with the things they represent (as do, for example, smoke to fire, a weathercock to the direction of the wind, a symptom to an illness, a smile to happiness, or a frown to anger). c. symbolic, which are only conventionally related to the thing they represent (as do, for example, a flag to a nation, a rose to love, a wedding ring to marriage). 12. Distinguish between different senses of the grammar word. The prescriptivist´s grammar (Grammar is a set of rules that label the different utterances as either right or wrong.) The descriptivist´s grammar (Grammar is a set of rules that govern the langauge spoken by people. ) The linguist´s grammar (Grammar is the subconscious knowledge of the set of rules that enables speakers to use the language) The speaker´s grammar (Grammar is the intrinsic linguistic knowledge within a native speaker) 13.Describe common fallacies about language and grammar: ►One type of grammar is simpler than another. ►Changes in grammar involve deterioration in a language ►Grammars should be logical and analogical (that is, regular) ►People must be taught the grammatical rules of their language. ►Only some languages have grammar. ►Grammars differ from each other in unpredictable ways. 14.Generality: All Languages Have a Grammar 15. Equality: All Grammars Are Equal 16.Changeability: Grammars Change Over Time 17. Universality: Grammars Are Alike in Basic Ways 18.Tacitness: Grammatical Knowledge Is Subconscious 19.Linguistics is defined as the study of language systems. It is the scientific study of language. 20.Historical approach:It is the study of language change. 21.Linguistic Competence: is the unconscious knowledge speakers of a language have about the system that enables them to create and understand novel utterances. 22.Performance: is the use of it. Performance is “the actual use of language in concrete situations.” 23.I-Language (internal language): which is the intrinsic linguistic knowledge within a native speaker. 24.E-Language (external language): which is the observable language—the output from a speaker. 25.Parole ('speech') refers to the concrete instances of the use of langue, including texts which provide the ordinary research material for linguistics. 26.Langue: 27.Language: is a system of communication that is non-stereotyped and non-finite; it is unlimited in its scope. 28.Grammar: to refer to a subconscious linguistic system of a particular type. Grammar makes possible the production and comprehension of a potentially unlimited number of utterances. 29.Communication and animals: Selecting a mode of communication (speech,writing, gesture). Delivering the symbols through a medium, a physical basis for communication, light, air, or ink. Decoding of the symbols to obtain the information. 30.SIGNS: Communication relies on using something to stand for something else. Words are an obvious example of this: You do not have to have a car, a sandwich, or your cousin present in order to talk about them—the words car, sandwich, and cousin stand for them instead. This same phenomenon is found in animal communication as well. 31.The signifier: A signifier is that part of a sign that stimulates at least one sense organ of the receiver of a message.A signifier can also be a picture, a photograph, a sign language gesture, or one of the many other words for tree in different languages. 32.The signified: The signified component of the sign refers to both the real world object it represents and its conceptual content. The first of these is the real world content of the sign, its extension or referent within a system of signs such as English, avian communication, or sign language. 33.Iconic signs or icons: always bear some resemblance to their referent. A photograph is an iconic sign; so too is a stylized silhouette of a female or a male on a restroom door. 34.Some iconic tokens: a. open-mouth threat by a Japanese macaque; b. park recreation signs; c. onomatopoeic words in English. 35.An indexical sign, or index, fulfils its function by pointing out its referent, typically by being a partial or representative sample of it. Indexes are not arbitrary, since their presence has in some sense been caused by their referent. For this reason it is sometimes said that there is a causal link between an indexical sign and its referent.The track of an animal, for example, points to the existence of the animal by representing a part of it. The presence of smoke is an index of fire. 36.Symbolic signs: bear an arbitrary relationship to their referents and in this way are distinct from both icons and indexes. Human language is highly symbolic in that the vast majority of its signs bear no inherent resemblance or causal connection to their referents, as the following words show. 37.Mixed signs Signs: are not always exclusively of one type or another. Symptomatic signs, for example, may have iconic properties, as when a dog opens its mouth in a threat to bite. Symbolic signs such as traffic lights are symptomatic in that they reflect the internal state of the mechanism that causes them to change color. 38.Signals: All signs can act as signals when they trigger a specific action on the part of the receiver, as do traffic lights, words in human language such as the race starter's "Go!", or the warning calls of birds. 39.SIGN STRUCTURE: No matter what their type, signs show different kinds of structure. A basic distinction is made between graded and discrete sign structure. 40.Graded signs convey their meaning by changes in degree. A good example of a gradation in communication is voice volume. The more you want to be heard, the louder you speak along an increasing scale of loudness. There are no steps or jumps from one level to the next that can be associated with a specific change in meaning. 41.Discrete signs are distinguished from each other by categorical (stepwise) differences. There is no gradual transition from one sign to the next. The words of human language are good examples of discrete signs. 42.A VIEW OF ANIMAL COMMUNICATION ►Largely iconic ►Largely symptomatic ►Little arbitrary ►Not deliberate ►Not conscious ►Not symbolic ►Stimulus bound

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