Sound Art Fundamentals: Rhythm, Melody, Harmony

Fundamentals of Sound Art

Fundamentals of Music

The fundamentals of music are:

• Rhythm: The combination of sounds and silences. It serves as the skeleton of a melody.
• Melody: The most visible element of a musical piece, i.e., that of which we are most aware when listening. It is usually the starting point of a composition consisting of a free combination of musical notes.
• Harmony: The musical part that regulates the relationship between melody and the instruments that accompany it.

Towards the end of the 19th century, composers became interested in the traditional music of their countries and cultures, which enriched their music through the use of new rhythms and instruments.

Musical Forms

The starting point of a composition is usually one or more melodies, which are called phrases or themes. These are articulated in its movements, and different combinations of motions contribute to the musical forms. Among the most important are:

1. The Sonata: A work divided into four movements that are slow-quick-slow-fast. When the sonata is written for a symphony orchestra, it is called a symphony.
2. Mass: Follows the Catholic rite and its parts are: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.
3. The Variation: The presentation of a melody, either one's own or by another composer, with a series of transformations or changes.

Performing and Creating Music

1. Interpreters of Modern Music: Generally, groups often create their own themes; however, solo singers often handle most of their songs with specialized composers.
2. Musicians Learned: The major objective of the performers of classical music is perfection in the interpretation of the original work, although some small personal contributions are permitted. There have been some interpreters, especially singers, who have achieved artistic recognition comparable to that of composers.
3. Interpreters of Popular Music: In some types of music in which improvisation plays an important role, like jazz and flamenco, the interpreter is the central figure. Contrary to what happens in classical music, the aim of an interpreter of jazz or flamenco is to provide their own recreation of the original idea, and the result is that it can be very different from the performance of another.