1. Soundscape refers to the sound: the characteristic sounds of a particular place, both human and nonhuman.

A
composer or performers soundscape would influence their music by affecting the way the music and piece would be
interpreted. In a sense, an individuals soundscape can be their bias. It would be the difference between hearing the
squirrels and birds squawking or the babbling brook with the wind whistling through the leaves.
2. Some cultures lack the single tern that translates to music in their language because they separate singing from
instrumental music. Even more so, some cultures go on to divide the type of singing(songs) and instrumental music
with more words as to the type of each, but again, do not have a single, overall term for music.
3. Rhythm is when we refer to the patterned recurrence of events, while metrical rhythm is when he measure the
time-relations between the sounds and find a pattern of regular recurrence. Ordinary speech is an example of rhythm
without meter, or the Gregorian change, of the Roman Catholic Church is an example as well.
4. Polyrhythm is the simultaneous occurrence of several rhythms with what we can perceive as a shifting downbeat.
Free rhythm is the nonmetric music of singing and instrumental improvisation.
5. Pitch refers to how high or low a sound is (how many vibrations per second) while timbre refers to the tone
quality caused by the characteristic way the voice or instrument is vibrating. For example, some on who has a high
voice has a high pitch. Their vocal cords vibrate faster and have more cycles per second. A person who has a shrill
nasal voice has a different timbre than one who has a smooth, open voice. This timbre, or quality, depends on the
structures they are naturally born with. This timbre can be adjusted with techniques that they can learn by opening
their mouth and breathing through the mouth instead of the nose.
6.
Harmony is a different note (interval) of the melody being played or sung at the same time.
Monophony consists of a single melody.
Heterophony is when two or more elaborate the same melody in different ways at roughly the same time.
Polyphony is when two or more distinct melodies are combined.
Homophony is when two or more voices are combined in such a way that one dominates and the others seem to be
accompanying the dominant voice, commonly referred when one speaks of harmony.

ESSAYS (Minimum 300 words each)
1. There is an original diagram for elements of a musical performance. The diagram, or model, presents Music
as resonating from the center of a performance. From there, the Performer(s) present(s) the music to an outer circle,
the Audience. Then this entire mass is surrounded by the final layer of Time and Space.
Titon adjusts this model in application to music-culture. In place of music, the heart of this model is the
Affective Experience. This affect that is received from the music is the musics power to move, the emotional
impact/potential that a piece of music may have. After this layer, Performance is found again.
Performance encompasses several things. First, a performance is marked as separate from the flow of ordinary
life. There is a definite beginning and an ending, usually noted by applause. Second, performance has purpose.
There is a reason such as enjoyment or educational or both, for the performance. Lastly, the performance depends on
interpretation by the audience and performer, alike. The performance, up to interpretation, either was successful or
lacking and reached its purpose.
The third level of Titons diagram for music-culture is the Community. This is the group that continues
traditions and social norms. A community in music-culture forms is unlike the tradition sense of living closely to
each other. Community in this context includes those that participate in the performance. These are to be the
members of the audience, the performer(s), the composer, etc.
Lastly, instead of Time and Space as is seen in the model for the elements of a musical performance, the final
level of the music-culture diagram is named as Memory/History by Titon. The Community, as was discussed
earlier, have a history of one type or another. Each of the members of this group have bias and influence per each
history. Throughout the history, as time passes, changes and evolutions of music can be found by those who reflect
and research music. As the Memory/History develops, and historians are able to assist the Community (oftentimes
even influence a certain way), impact of the performances are understood at deeper levels.
By developing this model of breaking down music-culture and performance, Titon, has made the concepts
involved in music analysis obtainable. He portrays that there are many levels and essentially a story behind every
piece of music, which many may be oblivious to, unless they are aware of this model.



2.
There are four components of music culture that compliments the performance model. Ideas about music,
activities involving music, repertories of music, and the material culture of music make up the divisions. These
delve into the people themselves, the background, so to speak, of the music and what makes up the culture.
The first component is referred to as the Ideas About Music. This section can be divided even further into four
more components. These are more blended as properties that make up this first component of the ideas about music
section. Music and the belief system, aesthetics, contexts, and history, as a whole, form this section. They are
blended layers that have been divided as a way to study the section. Music and belief ask questions about the
society and people specifically. What is important to them as far as music is concerned. Is it good, bad? Does music
belong to all or the individual? The answers to all the questions asked vary from culture to culture. For example, the
Chinese have a belief of yin and yang that is a foundation to their way of life. It is an integration of divergence, a
little bad, a little good, balance; that leaks not only into their music, but their history, language, and religion. Next
the Context for Music is questioned. Does a culture use music in their religious ceremonies? Is it regulated? Used
solely to salute the government, or is it allowed for enjoyment? The third division/layer of Ideas is Aesthetics of
music. Music-cultures can be characterized by their preferences of the music. The quality, the tone, these questions
refer to the ideas of pleasure and the affect that is perceived from the specific culture in reference to the music
found. Lastly there is a section of Context. The context refers to when and where the music originated from. For
example, folk festivals and older, traditional music in China are prioritized to preserve. Not only do they preserve it,
at the same time they make contemporary reaches, by doing this, the music-culture is tweaked and influenced,
eventually transforming the music.
The second component of music culture is Activities that involve music. The activities refer to the acts that
involve how the music is used and incorporated and applied to daily life. It also refers to how people identify to the
music. Some are performers, some professionally, some for the joy. Some people relate to a certain music via racial,
ethnic or social groups. For example, when blues developed in America, it was associated with the black underclass.
By this context, it was assigned a low social class, because African Americans at that time were just beginning to
broach civil liberties and they were considered a lower class. Eventually it raised ranks to become a valid genre of
music, and does not refer to the social division as blatantly. Another instance would be as music-culture groups
move out of a region. They use their music as a marker for their ethnic identity. This can be evidenced by Andean
panpipe music or Peking Opera; distinctive music reflective of the region that the music-culture was first introduced
into lives.
The next component of music-culture is Repertories of music. Repertory is a stock of music that is ready to be
performed. This section is made up of six smaller subsets. The basic parts are style, genres, texts, composition,
transmission, and movement. Style refers to everything related to the organization of the music. The pitch elements,
time elements, timbre elements, and sound intensity. These are dependent on the music-cultures aesthetics. For
example, old-time fiddlers in Missouri prefer regional dances as opposed to the bluegrass of the upper south. One
not familiar to the style may not be able to distinguish the differences, but those familiar can explain which area of
the region it originates from. Genres are named standard units of the repertory. These divide down into the type of
song or the types of instrumental music involved. For example, in Japan, there are labels that identify popular music
whether it be military or contemporary folk songs, from traditional music. The words of the repertory is known as
the text while the composition of the music explains how the music entered music-culture. It asks if it was planned,
or spontaneous? Any associations to specific groups? What were the ideas behind this type of music? Transmission
asks how the music is passed on. How is it learned? Why? Is there purpose behind learning it? Is it written or chiefly
passed on by way of imitation? Finally, repertory is made up of movement. This is in relation to the physical activity
accompanying the music. Is it a group? Instruments? A type of dance? All these questions help define what a music-
cultures repertory is.
Finally, the last component that makes up music-culture is the Material Culture of music. This refers to the
tangible objects that a music-culture produce. For instance, the instruments that were used to make the music and
any written music would be Material Culture.
These four components of music culture help bring us the questions to understand music culture. By asking the
questions that are presented in this model, we are able to dig deeper into the layers that music brings. What is music
(to them)? Why is music important (to them)? It shows that although the existence of music is universal, all the
answers to the rest of the questions are relative.