SSM Ch. 16 Sound Structures
Homophony
A musical structure in which a single pre-dominant melody is supported by chords. The melody can stand on its own; the chords cannot.
Fugue
A musical theme or subject stated first in each of the voices (usually four) and then restated verbatim or in a slightly changed form a various times in all voices.
Melody
A series of musical notes arranged in succession, forming a tune.
Imitation
A short musical theme or subject stated first in one voice and then repeated verbatim or in a slightly changed form in the other voice(s) while the first voice continues.
Counterpoint
A specific polyphonic technique in which the various voices (horizontal vectors) encounters each other.
Timbre
Describes the tone quality or tone color. Depends on the amount and the combination of overtones.
Harmony
Elements that go together well. In music, a number of chords or vertical sound vectors.
Duration indicates the relative highness and lowness of sound measured against an agreed-upon scale.
False
Harmony is a horizontal combination of simultaneously played notes.
False
Homophony refers to two or more melodic lines that, when played together, form a harmonic whole.
False
Mixing a happy scene with upbeat sounds is an example of thematic matching.
False
Pitch describes the tone quality or tone color.
False
Polyphonic structures have one dominant melody that is backed by chords.
False
Structural matching requires sounds that fit the general mood and the feeling of the event.
False
The basic elements of sound are dynamics, loudness, pitch, and timbre.
False
The four basic picture/sound matching criteria are loudness, attack/decay, pitch, and timbre.
False
The timbre of a tone is its apparent strength as we perceive it.
False
Thematic matching requires sounds that fit the general mood and the feeling of the event.
False
There is no limit to how many dialogue tracks we can discriminate among in multiscreen presentations.
False
Timbre indicates the relative highness and lowness of a sound measured against an agreed-upon scale.
False
Timbre referes to how long you hear a sound lasting.
False
Timbre refers to how long you hear a sound lasting.
False
When using structural matching you parallel pictures and sound according to their internal structure
False
When using structural matching, you parallel pictures and sound according to their external structure.
False
You cannot use a type of phasing for transition from one scene to the next.
False
You cannot use a type of phasing for transitions from one scene to the next.
False
Pitch
Indicates the relative highness or lowness of a sound, measured by frequency (hertz).
Harmonics
Overtones that are simple multiples of the fundamental tone.
Structural Matching
Pictures an sound are matched according to their internal structure and their dominant vector fields.
Historical Matching
Sound and pictures originate in the same historical period.
Geographical Matching
Sound and pictures originate in the same. . .
Which of the audio/video matching criteria relies most heavily on psychological closure?
Structural
Loudness
The apparent strength of a tone as we perceive it (magnitude of a sound vector). Technically, the amplitude of the sound wave.
Polyphony
The combination of two or more melodic lines (horizontal vectors) which, when played together, form a harmonic whole (vertical vectors).
Overtones
The number of frequencies with which a sound-producing source vibrates in addition to its fundamental frequency.
Canon
The purest and most obvious form of musical imitation. Both the theme and the melody are repeated verbatim by the other voices.
Sound Texture
The relative complexity of a harmonic structure (complexity of vertical sound vectors).
Duration
The running time of a scene, sequence, or total film or video production. In music, refers to how long we perceive a sound.
Chord
The simultaneous playing of three or more musical tones. Two tones played simultaneously constitute an interval.
Phasing
The sound portion of an event is either ahead of or trails the corresponding picture portion.
Decay
The speed with which a sound fades to where it can no longer be heard.
Attack
The speed with which a tone reaches a certain (usually maximum) level of loudness. See also decay.
Envelope
The total duration of a tone, form initial attack to final decay.
Dynamics
The variations of perceived loudness of a sound.
Thematic matching
The video event is accompanied by sounds we ordinarily associate with the event, such as the interior or a cathedral and organ music, or a football game crowd sounds.
Tonal Matching
The video event is matched with sounds that express the general tone or mood of the event.
Tone matching
The video event is matching will sounds that express the general tone or mood of the event.
A chord forms a vertical vector
True
A chord forms a vertical vector.
True
A melody is a series of musical tones arranged in succession.
True
A subtext refers to a character's psychological makeup.
True
According to Zettl, matching the sights and the sounds historical periods does not automatically make for effective and smooth picture/sound combinations.
True
According to Zettl, matching the sights and the sounds of historical periods does not automatically make for effective and smooth picture/sound combinations.
True
According to Zettl, vectors convey more readily than any other aesthetic factor the con contextual nature of media aesthetics.
True
According to Zettl, vectors convey more readily than any other aesthetic factor the contextual nature of media aesthetics.
True
According to Zettl, you must combine the video and audio vector fields so that they form a synergistic structure.
True
Attach refers to how fast a sound reaches a certain loudness level.
True
Attack refers to how fast a sound reaches a certain loudness level.
True
Counterpoint emphasizes a vector-against vector structure.
True
Counterpoint is a specific polyphonic technique in which the individual notes and melodic lines are set against each other.
True
Four of the more notable polyphonic audiovisual techniques are phasing, transitions, multiple texts, and multiple screens.
True
If the horizontal vectors have an uphill slant, the tune is rising; if they go downhill, the tune gets lower.
True
In a figure the same theme can appear in different voices.
True
In a fugue the same theme can appear in different voices.
True
In a homophonic structure, the audio track (considering of literal and nonliteral sounds) is in step with the visual event.
True
In a homophonic structure, the audio track (consisting of literal nonliteral sounds) is in step with the visual event.
True
In multiple screen presentations, each screen can pursue a different story that relates to the others thematically or through the interaction of characters.
True
In phasing the sound is asynchronous to the picture.
True
In phasing, the sound is asynchronous to the picture.
True
Overtones are a number of frequencies with which a sound-producing source vibrations in addition to its fundamental frequency.
True
Pairing video a scene in 1960's London with music by the Beatles is an example of history matching.
True
Polyphony refers to two or more melodic lines that, when played together, form a harmonic whole.
True
Structural analysis involves analyzing the picture sequence according to the fundamental and contextual image elements of light and color, space, time/motion and sound.
True
Structural analysis involves analyzing the picture sequence according to the fundamental and contextual image elements of light and color, space, time/motion, and sound.
True
The basic sound structure are melody, harmony, homophony, and polyphony.
True
The basic sound structures are melody harmony, homophony, and polyphony.
True
The harmonic combination of sounds is called a chord.
True
The vertical vectors of a chord can be compared to the depth and texture of a character in a play.
True
We can create contrapuntal tension through a contrast in rhythm.
True
When translated into graphic, index, and motion vectors, musical notation can describe a line, a direction, a movement, and horizontal and vertical structures.
True
When using structural matching, you parallel pictures and sound according to their internal structure.
True
When using thematic matching for video and audio, you select sounds that we are accustomed to hearing at specific events or locales.
True
You can use multiple texts for single-screen presentations or multiscreen productions.
True
Text
What a character says and does. Also a system of verbal and nonverbal . . .
What two musical forms represent contrapuntal structures?
a canon and a fugue
What is the main characteristic of a homophonic structure?
a dominant melody backed by chords
How fast a sound reaches a certain level of loudness is called:
attack
Which of the following is not an element of sound?
context
Which one of the following is not an element of sound?
context
Which of the following is not a notable polyphonic audiovisual technique:
counterpoint
The variations of perceived strength are the ______ of the sound.
dynamics
What type of vector best describes a melody?
horizontal vector
What two factors determine the relative decay of the sound?
instrument and acoustic environment
We say a sound has a slow decay when:
it takes some time for the sound vector to lose its strength
What are the basic elements of sound?
loudness, attack/decay, pitch, and timbre
Which of the examples listed represents thematic matching?
parade and band music
Which of the following is not a basic picture/sound matching criteria?
phasing
When we select sounds that we are accustomed to hearing at specific events or locales, we are using which picture-sound matching criteria:
thematic
Timbre describes what element of a sound?
tone quality
Geographical matching means that you select music that is typical of the geographical area depicted in the scene.
true
In a fugue the same theme can appear in different voices
true
You can use multiple texts for single screen presentations or multiscreen productions.
true
What type of vector best describes a chord (harmonic structure)?
vertical vector