---
{
  "layout": "glossary.njk",
  "title": "glossary",
  "curr": "glossary"
}
---

{% glosslist %}
  <dt>ff.</dt>
  <dd>Abbreviation meaning &ldquo;and following&rdquo;, typically used for pages. To refer to just one page, <dfn>f.</dfn> is used. In music, this is used for {% gloss "meter", "measures" %}.</dd>
{% endglosslist %}

{% h2 %}Linguistics{% endh2 %}

{% glosslist %}
  <dt>ENE</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/Early_Modern_English"><i>Early New English</i></a>.</dd>

  <dt>ME</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/Middle_English"><i>Middle English</i></a>.</dd>

  <dt>NE</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/Modern_English"><i>New English</i></a>.</dd>

  <dt>NP</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/Noun_phrase"><i>noun phrase</i></a>.</dd>

  <dt>OE</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/Old_English"><i>Old English</i></a>.</dd>

  <dt>OH</dt>
  <dd>Abbreviation meaning &ldquo;<a href="https://en.wikipedia.org/wiki/Ancient_Greek">Ancient Greek</a>&rdquo;, from <i><b>O</b>ld <a href="https://en.wikipedia.org/wiki/Hellenic_languages"><b>H</b>ellenic</a></i>.</dd>

  <dt>phonetic transcription</dt>
  <dd>
    <p>
      A way of notating how something is pronounced. Transcriptions here adhere closely to the official latest revision of the <a href="https://en.wikipedia.org/wiki/International_Phonetic_Alphabet">International Phonetic Alphabet</a> (<abbr title="International Phonetic Alphabet"><dfn>IPA</dfn></abbr>), but with the addition of characters from the <a href="https://en.wikipedia.org/wiki/Extensions_to_the_International_Phonetic_Alphabet">extIPA</a> as necessary.
    </p>

    <p>
      Transcriptions come in three flavors, depending on the conceptual level at which they exist:
    </p>

    <dl>
      <dt class="ipa">[&#x22ef;]</dt>
      <dd>Narrow transcription. At the level of actual speech production, <a href="https://en.wikipedia.org/wiki/Idiolect">idiolect</a>, or small <a href="https://en.wikipedia.org/wiki/Variety_(linguistics)">lect</a>.</dd>

      <dt class="ipa">/&#x22ef;/</dt>
      <dd>Broad transcription. At the <a href="https://en.wikipedia.org/wiki/Phoneme">phonemic</a> level.</dd>

      <dt class="ipa">&parsl;&#x22ef;&parsl;</dt>
      <dd>At the <a href="https://en.wikipedia.org/wiki/Morphophonology">morphophonologic</a> or <a href="https://en.wikipedia.org/wiki/Diaphoneme">diaphonemic</a> level.</dd>
    </dl>
  </dd>
{% endglosslist %}

{% h2 %}Mathematics{% endh2 %}

{% glosslist %}
  <dt>duodecimal</dt>
  <dd>
    <p>
      The <a href="https://en.wikipedia.org/wiki/Duodecimal">base-twelve numeral system</a>.
    </p>

    <p>
      The familiar <a href="https://en.wikipedia.org/wiki/Arabic_numerals">Hindu&ndash;Arabic numerals</a> used for <a href="https://en.wikipedia.org/wiki/Decimal">decimal</a> are also used for duodecimal; however, the necessary two additional digits are not always agreed upon. For convenience, the two digits have often been &lang;T, E&rang;, from the English words <i><b>t</b>en</i> and <i><b>e</b>leven</i>; or &lang;A, B&rang;, as in <a href="https://en.wikipedia.org/wiki/Hexadecimal">hexadecimal</a>.
    </p>

    <p>
      Unfortunately, &lang;A, B, E&rang; all overlap with the names for pitches &amp; {% gloss "pitchclasses" %} in music (see: <i>{% gloss "integer notation" %}</i>, for the use of duodecimal), and the use of &lang;T, E&rang; is regrettably language-specific. The use of letters in general is also problematic, causing numbers to be more easily confused with letters or words.
    </p>

    <p>
      For these reasons, I use the {% personage "Pitman", "Sir Isaac Pitman", "https://en.wikipedia.org/wiki/Isaac_Pitman", "Person" %} digits &lang;&#x218a;, &#x218b;&rang;; <code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>218a</code> &amp; <code>U+218b</code>, respectively.
    </p>
  </dd>
{% endglosslist %}

{% h2 %}Music{% endh2 %}

{% glosslist %}
  <dt style="font-style: normal; font-synthesis: none;">&#x2258; (<code>U+2258</code>)</dt>
  <dd>
    <p>
      &ldquo;Corresponds to&rdquo;. Used for connecting a concrete object to its counterpart that&rsquo;s relative to the surrounding context:
    </p>

    <ul>
      <li>In the key of {% m "C" %} major, we have {% m "D" %} &#x2258; {% m "2^" %}. (See: {% gloss "mode" %}.)</li>
      <li>In the key of {% m "C" %} major, we have {% m "D-7", "chord" %} &#x2258; {% m "ii7" %}. (See: {% gloss "Roman numeral analysis" %}.)</li>
    </ul>
  </dd>

  <dt>c-pitch</dt>
  <dd>Abbreviation of <i>{% gloss "contour space", "contour pitch" %}</i>.</dd>

  <dt>c-seg</dt>
  <dd>Abbreviation of <i>{% gloss "contour space", "contour segment" %}</i>.</dd>

  <dt>c-space</dt>
  <dd>Abbreviation of <i>{% gloss "contour space" %}</i>.</dd>

  <dt>collection</dt>
  <dd>
    <p>
      The word <dfn>collection</dfn> itself is used very generically, to refer to any number of items considered together in an otherwise unspecified way. More precise notions are summarized in the following table (where <dfn>uniform</dfn> means that the collection&rsquo;s elements are all of the same type):
    </p>

    <table>
      <thead>
        <tr>
          <th scope="col">no&shy;ta&shy;tion</th>
          <th scope="col">col&shy;lec&shy;tion type</th>
          <th scope="col">or&shy;dered</th>
          <th scope="col">du&shy;pli&shy;cates</th>
          <th scope="col">uni&shy;form</th>
          <th scope="col">may con&shy;tain</th>
          <th scope="col">com&shy;ments</th>
        </tr>
      </thead>
      <tbody>
        <tr>
          <td class="music center">(&#x22ef;)</td>
          <td><a href="https://en.wikipedia.org/wiki/Tuple">tuple</a></td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x274c;</td>
          <td>any&shy;thing</td>
          <td></td>
        </tr>
        <tr>
          <td class="music center">[&#x22ef;]</td>
          <td><a href="https://en.wikipedia.org/wiki/Row_and_column_vectors">row vector, column vector</a>, <a href="https://en.wikipedia.org/wiki/List_(abstract_data_type)">list</a>, <a href="https://en.wikipedia.org/wiki/Sequence">se&shy;quence</a></td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "pc", "pcs" %}, {% gloss "integer notation", "in&shy;te&shy;ger pitch&shy;es" %}, {% gloss "motion", "motions" %}</td>
          <td>Or&shy;der&shy;ing is not nec&shy;es&shy;sar&shy;i&shy;ly tem&shy;po&shy;ral.</td>
        </tr>
        <tr>
          <td class="music center">&lang;&#x22ef;&rang;</td>
          <td>se&shy;quence, vector</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "c-pitch", "c-pitch&shy;es" %} ({% gloss "c-seg" %}), {% gloss "ic", "ics" %} ({% gloss "ic-vector", "ic-vec&shy;tor" %}), notes &amp; rests ({% gloss "rhythm" %}), {% gloss "meter", "me&shy;ters" %} ({% gloss "hypermeter", "hy&shy;per&shy;meter" %})</td>
          <td>C-segs (and in&shy;di&shy;vid&shy;ual c-pitch&shy;es) also end with a sub&shy;script <sub class="music" style="font-weight: 700;">c</sub>.</td>
        </tr>
        <tr>
          <td class="music center">&Lang;&#x22ef;&Rang;</td>
          <td>{% gloss "schema" %}</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "section", "sections" %}</td>
          <td></td>
        </tr>
        <tr>
          <td class="music center">&#x27c5;&#x22ef;&#x27c6;</td>
          <td><a href="https://en.wikipedia.org/wiki/Multiset">bag (AKA <i>mul&shy;ti&shy;set</i>)</a></td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x2705;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "motion", "motions" %}</td>
          <td>Mul&shy;ti&shy;plic&shy;i&shy;ties de&shy;not&shy;ed by su&shy;per&shy;script num&shy;bers.</td>
        </tr>
        <tr>
          <td class="music center">{&#x22ef;}</td>
          <td><a href="https://en.wikipedia.org/wiki/Set_(mathematics)">set</a></td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "pc", "pcs" %}, {% gloss "integer notation", "in&shy;te&shy;ger pitch&shy;es" %}</td>
          <td></td>
        </tr>
        <tr>
          <td class="music center"><span class="piggpar">&#x2045;</span>&#x22ef;<span class="piggpar">&#x2046;</span></td>
          <td>{% gloss "setclass", "set&shy;class" %} (sans {% gloss "inversional equivalence", "in&shy;ver&shy;sion&shy;al equiv&shy;a&shy;lence" %})</td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "pc" %}-sets</td>
          <td></td>
        </tr>
        <tr>
          <td class="music center">&lobrk;&#x22ef;&robrk;</td>
          <td>{% gloss "setclass", "set&shy;class" %} (with {% gloss "inversional equivalence", "in&shy;ver&shy;sion&shy;al equiv&shy;a&shy;lence" %})</td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x274c;</td>
          <td class="center">&#x2705;</td>
          <td>{% gloss "pc" %}-sets</td>
          <td></td>
        </tr>
      </tbody>
    </table>
  </dd>

  <dt>contour space</dt>
  <dd>
    <p>
      A <a href="https://en.wikipedia.org/wiki/Space_(mathematics)">space</a> into which things from another one-dimensional space are mapped, for the purpose of preserving the points&rsquo; order relative to one another, while also abstracting away from exact &ldquo;distances&rdquo;.
    </p>

    <p>
      This notion was originally applied to pitches: in a finite piece of music, a finite number of pitches occur, and they can be <a href="https://en.wikipedia.org/wiki/Well-order">well-ordered</a> <abbr title="with respect to">w.r.t.</abbr> one another in the usual way. We can thus assign the <dfn>contour-pitch</dfn> (abbreviated as <dfn>{% gloss "c-pitch" %}</dfn>) {% m "<0>" %} to the lowest pitch that occurs, the c-pitch {% m "<1>" %} to the second-lowest pitch that occurs, and so on. This allows us to express {% gloss "melodic contour" %} by reducing the pitch of every note in a melody to its corresponding c-pitch &mdash; within the {% gloss "c-space" %} that represents exactly (&amp; only) those pitches that occur within said melody.
    </p>

    <p>
      For example, the melody (all within a single octave) {% m "C--D--F--D--C--F--D--F" %} gets the c-space representation {% m "<01210212>" %}. Such a path through c-space may be called a <dfn>{% gloss "c-seg" %}</dfn>.
    </p>

    <p>
      However, c-spaces can be applied to any number of things that aren&rsquo;t pitches. Even so, in a musical context, the term <i>c-<b>pitch</b></i> is still used to refer to the points in the space.
    </p>

    <p>
      <i>C-space</i> is taken from {% cite "ContourSpace", true %}. However, I don&rsquo;t have access to this book, so I have taken this description from {% cite "StructDist", true %}.
    </p>
  </dd>

  <dt>drum notation</dt>
  <dd>The percussion notation used here is based on {% personage "Audio Graffiti" %}&rsquo;s adaptation of {% cite "StdDrumNotation", true %}, which can be found at: <code><a href="https://web.mit.edu/merolish/Public/drums.pdf">https://web.mit.edu/merolish/Public/drums.pdf</a></code>.</dd>

  <dt>m.</dt>
  <dd>Abbreviation of <i>{% gloss "meter", "measure" %}</i>. Plural <dfn>mm.</dfn>.</dd>

  <dt>percussion notation</dt>
  <dd>See: <i>{% gloss "drum notation" %}</i>.</dd>

  <dt>progression</dt>
  <dd>
    <p>
      A chronologic progression of musical objects that implies a lack of overlap between those objects, and that is typically actually sounded (rather than being purely notional). Notated by separating the objects with <a href="https://en.wikipedia.org/wiki/Dash#En_dash">en dashes</a> (<code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>2013</code>). Typical uses include:
    </p>

    <ul>
      <li>{% gloss "chord", "Chord" %} progressions, e.g. {% m "D-7--G7--C" %} {% gloss "U+2258", "&#x2258;" %} {% m "ii7--V7--I" %}.</li>
      <li>Melodies with unspecified rhythm, e.g. {% m "F--F--E--D#--B--C--C" %}.</li>
    </ul>
  </dd>
{% endglosslist %}

{% h3 %}Dynamics{% endh3 %}

{% glosslist %}
  <dt>dist-pitch</dt>
  <dd>A {% gloss "c-pitch" %} within {% gloss "dist-space" %}.</dd>

  <dt>dist-space</dt>
  <dd>{% gloss "contour space", "Contour space" %} as applied to levels of <a href="https://en.wikipedia.org/wiki/Distortion_(music)">distortion</a>; defined in {% cite "StructDist", true %}. A location ({% gloss "c-pitch" %}) within this space is called a {% gloss "dist-pitch" %}.</dd>

  <dt>dynamic range</dt>
  <dd>The range of {% gloss "dynamics" %} between the loudest &amp; softest parts of a piece, typically with consideration for dynamics in between.</dd>

  <dt>dynamics</dt>
  <dd>The &ldquo;loudness&rdquo; or &ldquo;softness&rdquo; of music, both through time, and between different simultaneous parts.</dd>
{% endglosslist %}

{% h3 %}Form &amp; structure{% endh3 %}

{% glosslist %}
  <dt>form</dt>
  <dd>The overall structure of a full musical piece, typically understood in terms of {% gloss "section", "sections" %} and their interrelations.</dd>

  <dt><i lang="fr">petite reprise</i></dt>
  <dd>A {% gloss "reprise" %} that is somehow partial &amp;/or truncated, reproducing only some of the original material &mdash; while still being recognizable.</dd>

  <dt>reprise</dt>
  <dd>{% ipa "en" %}&#x279;&#x26a;&#x2c8;p&#x279;i&#x2d0;z{% endipa %}. The return of a {% gloss "section" %} &mdash; especially {% m "A", "form" %} &mdash; later on in the piece, after one or more intervening sections, and with little (e.g. a change in <a href="https://en.wikipedia.org/wiki/Key_(music)">key</a>) or no variation.</dd>

  <dt>schema</dt>
  <dd>
    <p>
      An outline of a {% gloss "form", "musical form" %} in terms of its {% gloss "section", "sections" %}, with each section represented by an uppercase Latin letter starting from {% m "A", "form" %}.
    </p>

    <p>
      I use <span class="music">&Lang;&#x22ef;&Rang;</span> (<code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>27ea</code>&hellip;<code>U+27eb</code>; &ldquo;mathematical double angle brackets&rdquo;) to delineate schemata or individual sections within them. Sections that are repeated with significant variation get prime symbols, e.g. a variation of {% m "A", "form" %} may be written {% m "A'", "form" %}, another variation may be written {% m "A''", "form" %}, and so on. Different occurences of the same section with no significant variation may be distinguished with subscript numbers, e.g. {% m "A'1BA'2", "form" %} for two instances of {% m "A'", "form" %} separated by an instance of {% m "B", "form" %}.
    </p>
  </dd>

  <dt>section</dt>
  <dd>A contiguous temporal segment of a musical piece that is demarcated from what comes before &amp; after it by an overall change in the musical materials used. A full piece of music may have any number of sections (including 1), and the demarcation of those sections is often fairly arbitrary. The structure of these sections may be captured with a {% gloss "schema" %}.</dd>

  <dt>through-composition</dt>
  <dd>A {% gloss "form", "musical form" %} of the general {% gloss "schema" %} <span class="music">&Lang;A&ic;B&ic;C&ic;D&ic;E&ic;&#x22ef;&Rang;</span>, with no meaningfully repeated material nor {% gloss "reprise", "reprises" %}.</dd>
{% endglosslist %}

{% h3 %}Meter, rhythm, &amp; timing{% endh3 %}

{% glosslist %}
  <dt>beat</dt>
  <dd>A grouping of one or more contiguous {% gloss "pulse", "pulses" %}; specifically a grouping whose onset is intended to correspond to where a listener might tap their foot. Contiguous beats are grouped by the {% gloss "meter" %}.</dd>

  <dt>counting</dt>
  <dd>
    <p>
      A way of labelling {% gloss "timing", "timings" %} in a {% gloss "meter", "measure" %} at the {% gloss "beat" %} level, and at certain divisions of the beat.
    </p>

    <p>
      The method used here counts the first beat as &ldquo;1&rdquo;, the second beat as &ldquo;2&rdquo;, and so on. Then, the midpoint of each beat is counted as &ldquo;&amp;&rdquo; {% ipa "en" %}&aelig;nd{% endipa %}; for example, the midpoint of the second beat is the &ldquo;&amp; of 2&rdquo;.
    </p>

    <p>
      The point &frac14; of the way through the beat is &ldquo;e&rdquo; {% ipa "en" %}i{% endipa %}, and the point &frac34; of the way through is &ldquo;a&rdquo; {% ipa "en" %}&#x259;{% endipa %}. <a href="https://en.wikipedia.org/wiki/Metre_(music)#Compound_metre">Compound meter</a> and <a href="https://en.wikipedia.org/wiki/Tuplet#Triplet">triplets</a> are less commonly agreed upon, but here I use &ldquo;la&rdquo; {% ipa "en" %}l&#x251;{% endipa %} for the &frac13; point, and &ldquo;li&rdquo; {% ipa "en" %}li{% endipa %} for the &frac23; point.
    </p>
  </dd>

  <dt>hypermeter</dt>
  <dd>Regular sequencing that occurs above the {% gloss "meter", "metric" %} level; that is, in terms of sequences of measures. A unit of hypermeter is a <dfn>hypermeasure</dfn> (or rarely, also called a <dfn>hyperbar</dfn>). In this context, the constituent measures of a hypermeasure may be called <dfn>hyperbeats</dfn>.</dd>

  <dt>meter</dt>
  <dd>
    <p>
      A regular sequence of {% gloss "beat", "beats" %} &mdash; typically, but not always, of the same kind &mdash; along with a system of accents; accented beats are <dfn>onbeats</dfn>, and other (unaccented) beats are <dfn>offbeats</dfn>. A unit of meter is a <dfn>measure</dfn> (also called a <dfn>bar</dfn>). Contiguous measures are grouped by {% gloss "hypermeter" %}, if at all.
    </p>

    <p>
      The use of <a href="https://en.wikipedia.org/wiki/Time_signature">time signatures</a> to denote meters is potentially confusing, as the notation itself only specifies the nominal(!) length of a {% gloss "pulse" %}, and how many nominal pulses there are in each measure. Generally speaking:
    </p>

    <details>
      <summary>Full description of how to conventionally read time signatures as meters</summary>

      <ul>
        <li>1 in the numerator implies no particular internal metric structure: 1&it;&nbsp;measure &equiv; 1&it;&nbsp;onbeat &equiv; 1&it;&nbsp;beat &equiv; 1&it;&nbsp;pulse.</li>
        <li>A positive <a href="https://en.wikipedia.org/wiki/Power_of_two">power of 2</a> (2, 4, 8, etc.) in the numerator implies that there are that many beats per measure (<a href="https://en.wikipedia.org/wiki/Duple_and_quadruple_metre"><dfn>duple meter</dfn>, <dfn>quadruple meter</dfn></a>, <dfn>octuple meter</dfn>, etc.), and that the beat may naturally divide into two pulses (<a href="https://en.wikipedia.org/wiki/Metre_(music)#Simple_metre"><dfn>simple meter</dfn></a>). Then, the odd-numbered beats (the 1<sup>st</sup> beat, 3<sup>rd</sup> beat, etc.) are typically the onbeats.</li>
        <li>3 in the numerator implies that there are 3 beats per measure (<a href="https://en.wikipedia.org/wiki/Triple_metre"><dfn>triple meter</dfn></a>), and that the beat may naturally divide into two pulses (<i>simple meter</i>). Then, the 1<sup>st</sup> beat is generally the sole onbeat.</li>
        <li><math><mn>3</mn><mo>&sdot;</mo><msup><mn>2</mn><mi>n</mi></msup></math> in the numerator, for <math><mi>n</mi><mo>&ge;</mo><mn>1</mn></math> (6, 12, 24, etc.), implies that there are <math><msup><mn>2</mn><mi>n</mi></msup></math> beats per measure (<i>duple meter</i>, <i>quadruple meter</i>, <i>octuple meter</i>, etc.), and so each beat is naturally composed of 3 pulses (<a href="https://en.wikipedia.org/wiki/Metre_(music)#Compound_metre"><dfn>compound meter</dfn></a>). Then, the odd-numbered beats are generally the onbeats.</li>
        <li>Any other 3-<a href="https://en.wikipedia.org/wiki/Smooth_number">smooth</a> number in the numerator (9, 18, 27, etc.) implies <i>compound meter</i> (and so <i>triple meter</i>, <a href="https://en.wikipedia.org/wiki/Sextuple_metre"><dfn>sextuple metre</dfn></a>, <dfn>nonuple meter</dfn>, etc.), with onbeats being of the form <math><mn>1</mn><mo>+</mo><mrow><mn>3</mn><mo>&it;</mo><mi>n</mi></mrow></math>.</li>
        <li>Any other even number <math><mn>2</mn><mo>&it;</mo><mi>n</mi></math> in the numerator (10, 14, 20, etc.) likely implies that there are <math><mi>n</mi></math> beats per measure (<a href="https://en.wikipedia.org/wiki/Quintuple_meter"><dfn>quintuple meter</dfn></a>, <a href="https://en.wikipedia.org/wiki/Septuple_meter"><dfn>septuple meter</dfn></a>, <dfn>decuple meter</dfn>, etc.), and thus <i>simple meter</i>. No particular system of accents is implied.</li>
        <li>Any other single number in the numerator (5, 7, 11, etc.) implies that there are that many beats per measure (<i>quintuple meter</i>, <i>septuple meter</i>, <a href="https://en.wikipedia.org/wiki/Undecuple_meter"><dfn>undecuple meter</dfn></a>, etc.), and presumably implies <i>simple meter</i>. No particular system of accents is implied.</li>
        <li>A sum in the numerator (as in e.g. {% m "3+3+2/8" %}) explicitly divides the measure. Whether this division is in terms of accents (in the example, 8 beats per bar, with the 1<sup>st</sup>, 4<sup>th</sup>, &amp; 7<sup>th</sup> beats accented), or in terms of beats (in the example, 3 beats per bar, with the beats consisting of 3, 3, &amp; 2 pulses, respectively), is ambiguous. Nevertheless, in such cases, the distinction is typically not particularly useful anyway.</li>
      </ul>
    </details>
  </dd>

  <dt>pulse</dt>
  <dd>
    <p>
      The most basic regular unit of musical {% gloss "timing" %}. Any {% gloss "voice" %} that &mdash; in a given section of music &mdash; has regular timing necessarily has an underlying pulse; however, the notion is abstract enough that &ldquo;<em>the</em> pulse&rdquo; of said voice is not uniquely defined, although reasonable definitions are typically morally equivalent.
    </p>

    <p>
      Not every pulse is actually sounded in some way, thus making it more of an abstract notion. Pulses are often grouped into {% gloss "beat", "beats" %}, albeit not always uniquely. The denominator of a <a href="https://en.wikipedia.org/wiki/Time_signature">time signature</a> specifies the nominal(!) length of a pulse, e.g. the &ldquo;<span class="music"><span class="time-sig-denom">4</span></span>&rdquo; in &ldquo;{% m "3/4" %}&rdquo; implies that the nominal pulse is a quarter-note. For more on time signatures, see {% gloss "meter" %}.
    </p>
  </dd>

  <dt>rhythm</dt>
  <dd>A sequence &mdash; particularly, one of some regularity &amp;/or recurrence &mdash; of {% gloss "timing", "timings" %} that are actually sounded (rather than being notional, as in e.g. {% gloss "meter" %}). The use of rhythm generally implies the existence of an underlying {% gloss "pulse" %}.</dd>

  <dt>syncopation</dt>
  <dd>The use of {% gloss "rhythm", "rhythms" %} &amp; {% gloss "timing", "timings" %} that are unexpected at the {% gloss "meter", "metric" %} &amp;/or {% gloss "beat" %} level.</dd>

  <dt>timing</dt>
  <dd>
    <p>
      As a singular noun, a <dfn>timing</dfn> is a temporal location; an abstract point within a one-dimensional timeline. An event &mdash; e.g. the onset of a note &mdash; that occurs at &ldquo;a certain time&rdquo; has a timing: its &ldquo;certain time&rdquo;!
    </p>

    <p>
      More broadly, the (collective) <dfn>timing</dfn> of some collection of events is the collection of those events&rsquo; timings, considered as a kind of distribution. This leads to notions such as {% gloss "pulse" %} and {% gloss "rhythm" %}.
    </p>
  </dd>
{% endglosslist %}

{% h3 %}Pitch{% endh3 %}

{% glosslist %}
  <dt>12&nbsp;EDO</dt>
  <dd>Abbreviation of <a href="https://en.wikipedia.org/wiki/12_equal_temperament"><i>12 <b>e</b>qual <b>d</b>ivisions of the <b>o</b>ctave</i></a>.</dd>

  <dt>chord</dt>
  <dd>A collection of pitches that represents at least two distinct {% gloss "pitchclass", "pitchclasses" %}, and that is thought of as being essentially {% gloss "vertical" %}, even if <em>not necessarily</em> sounded as such (e.g. it may be <a href="https://en.wikipedia.org/wiki/Arpeggio">arpeggiated</a>). For the notation used here for chords, see {% gloss "chord notation", "the entry on chord notation" %}.</dd>

  <dt>chord alteration</dt>
  <dd>
    <p>
      A factor of a chord whose quality must be explicitly specified because it is otherwise &ldquo;unexpected&rdquo;. For less exotic chord extensions, see {% gloss "chord extension" %}. In {% gloss "chord notation", "the chord notation used here" %}, the following notations are used to indicate alterations:
    </p>

    <dl>
      <dt style="font-style: normal;">[<i>nothing</i>]</dt>
      <dd>No alterations.</dd>

      <dt class="music">&flat;5</dt>
      <dd>Having a diminished fifth factor, instead of a perfect one.</dd>

      <dt class="music">&sharp;5</dt>
      <dd>Having an augmented fifth factor, instead of a perfect one.</dd>

      <dt class="music">&flat;9</dt>
      <dd>Having a minor ninth factor, instead of a major one.</dd>

      <dt class="music">&sharp;9</dt>
      <dd>Having an augmented ninth factor, instead of a major one.</dd>

      <dt class="music">&sharp;11</dt>
      <dd>Having an augmented eleventh factor, instead of a perfect one.</dd>

      <dt class="music">&flat;13</dt>
      <dd>Having a minor thirteenth factor, instead of a major one.</dd>

      <dt class="music">alt</dt>
      <dd>Shorthand for an <a href="https://en.wikipedia.org/wiki/Altered_chord#Altered_dominant_chord">altered dominant seventh-chord</a> with otherwise unspecified construction. More-or-less any of the above alterations may be applicable, and at least one of them is.</dd>
    </dl>
  </dd>

  <dt>chord extension</dt>
  <dd>
    <p>
      A factor of a chord that goes beyond {% gloss "chord quality", "its basic quality" %}, but in a way that is otherwise &ldquo;expected&rdquo;, given its quality. For more exotic extensions, see {% gloss "chord alteration" %}. In {% gloss "chord notation", "the chord notation used here" %}, the following notations are used to indicate extensions:
    </p>

    <dl>
      <dt style="font-style: normal;">[<i>nothing</i>]</dt>
      <dd>No extensions.</dd>

      <dt><span class="music">add2</span>, <span class="music">add4</span></dt>
      <dd>Added major second or perfect fourth factor, respectively, but without the presence of a seventh factor.</dd>

      <dt class="music">6</dt>
      <dd>Added major sixth factor, but without the presence of a seventh factor.</dd>

      <dt class="music">&deg;7</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Diminished_seventh_chord">Fully-diminished seventh-chord</a>, with diminished triad quality &amp; diminished seventh factor.</dd>

      <dt class="music">&#x1d1a9;7</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Half-diminished_seventh_chord">Half-diminished seventh-chord</a>. Has a minor seventh factor, rather than a <a href="https://en.wikipedia.org/wiki/Diminished_seventh_chord">diminished</a> one.</dd>

      <dt class="music">alt7</dt>
      <dd>Shorthand for an <a href="https://en.wikipedia.org/wiki/Altered_chord#Altered_dominant_chord">altered dominant seventh-chord</a> with otherwise unspecified construction. For more on alterations, see {% gloss "chord alteration" %}.</dd>

      <dt class="music">&#x2206;7</dt>
      <dd>Major seventh factor. Depending on the {% gloss "chord quality", "quality" %}, this may be either a <a href="https://en.wikipedia.org/wiki/Major_seventh_chord">major seventh-chord</a> or an <a href="https://en.wikipedia.org/wiki/Augmented_major_seventh_chord">augmented major seventh-chord</a>.</dd>

      <dt class="music">7</dt>
      <dd>By default, the seventh factor is minor.</dd>

      <dt class="music">9</dt>
      <dd>Same as <span class="music">7</span>, but <a href="https://en.wikipedia.org/wiki/Ninth_chord">with a major ninth extension</a>.</dd>

      <dt class="music">11</dt>
      <dd>Same as <span class="music">7</span>, but <a href="https://en.wikipedia.org/wiki/Eleventh_chord">with a perfect eleventh extension</a>.</dd>

      <dt class="music">13</dt>
      <dd>Same as <span class="music">7</span>, but with a major <a href="https://en.wikipedia.org/wiki/Thirteenth">thirteenth</a> extension.</dd>
    </dl>
  </dd>

  <dt>chord inversion</dt>
  <dd>
    <p>
      Which <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a> of a {% gloss "chord" %} is in the bass; that is, lowest in pitch. In {% gloss "chord notation", "the chord notation used here" %}, the following notations are used to indicate inversion:
    </p>

    <dl>
      <dt style="font-style: normal;">[<i>nothing</i>]</dt>
      <dd>The default inversion is <a href="https://en.wikipedia.org/wiki/Root_position">root position</a> (&#x225d;&nbsp;root in the bass).</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">6</sup><span class="inversion-lower"></span></span></dt>
      <dd><a href="https://en.wikipedia.org/wiki/First_inversion">First inversion</a> (&#x225d;&nbsp;third factor in the bass) of a tertian chord with no seventh factor.</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">6</sup><sub class="inversion-lower">5</sub></span></dt>
      <dd>First inversion of a seventh-chord.</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">6</sup><sub class="inversion-lower">4</sub></span></dt>
      <dd><a href="https://en.wikipedia.org/wiki/Second_inversion">Second inversion</a> (&#x225d;&nbsp;fifth factor in the bass) of a tertian chord with no seventh factor.</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">4</sup><sub class="inversion-lower">3</sub></span></dt>
      <dd>Second inversion of a seventh-chord.</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">4</sup><span class="inversion-lower"></span></span></dt>
      <dd>Second inversion of a power-chord.</dd>

      <dt class="music">&#x25cc;<span class="inversion"><sup class="inversion-upper">4</sup><sub class="inversion-lower">2</sub></span></dt>
      <dd><a href="https://en.wikipedia.org/wiki/Third_inversion">Third inversion</a> (&#x225d;&nbsp;seventh factor in the bass).</dd>

      <dt class="music">&#x25cc;/<var>p</var></dt>
      <dd>The pitch <var>p</var> is in the bass.</dd>
    </dl>
  </dd>

  <dt>chord notation</dt>
  <dd>
    <p>
      The name of a {% gloss "chord" %} begins with the name of its <a href="https://en.wikipedia.org/wiki/Root_(chord)">root</a> in uppercase; this may be followed by some symbols that give more information about the rest of the chord. For Roman numeral analysis notation, see {% gloss "Roman numeral analysis", "the relevant entry" %}.
    </p>

    <p>
      By default, a named chord is a <a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a> in <a href="https://en.wikipedia.org/wiki/Root_position">root position</a> (e.g. the chord &ldquo;{% m "Bb", "chord" %}&rdquo; is a {% m "Bb" %} major triad with {% m "Bb" %} in the bass). This basis in triads inherently biases the notation toward <a href="https://en.wikipedia.org/wiki/Tertian">tertian</a> constructions, so other notation may be used for other kinds of chords.
    </p>

    <p>
      Any added symbols can be broadly classified into about five categories, in the following order:
    </p>

    <ol>
      <li>{% gloss "chord quality", "Quality" %}.</li>
      <li>{% gloss "chord extension", "Extension" %}.</li>
      <li>{% gloss "chord alteration", "Alteration" %}.</li>
      <li>{% gloss "omitted factor", "Omission" %}.</li>
      <li>{% gloss "chord inversion", "Inversion" %}.</li>
    </ol>
  </dd>

  <dt>chord quality</dt>
  <dd>
    <p>
      The most fundamental part of a chord&rsquo;s structure; in <a href="https://en.wikipedia.org/wiki/Tertian">tertian</a> harmony, this is the triad&rsquo;s quality, ignoring other aspects of the chord like e.g. {% gloss "chord extensions", "its other factors" %} or its {% gloss "chord inversion", "inversion" %}. In {% gloss "chord notation", "the chord notation used here" %}, the following notations are used to indicate quality:
    </p>

    <dl>
      <dt style="font-style: normal;">[<i>nothing</i>]</dt>
      <dd>The default quality is a <a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a>.</dd>

      <dt class="music">&minus;</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Minor_chord">Minor triad</a>.</dd>

      <dt class="music">&#x229f;</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Added_tone_chord#Mixed_third_chords">Split-third</a> chord: superimposed major &amp; minor triads, resulting in two distinct third factors within the same chord.</dd>

      <dt class="music">+</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Augmented_triad">Augmented triad</a>.</dd>

      <dt class="music">&pm;</dt>
      <dd>Augmented triad with a split third.</dd>

      <dt class="music">&deg;</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Diminished_triad">Diminished triad</a>.</dd>

      <dt class="music">&#x1d1a9;</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Half-diminished_seventh_chord">Half-diminished</a>. A variant of the symbol for diminished triad that implies a minor seventh factor (rather than a <a href="https://en.wikipedia.org/wiki/Diminished_seventh_chord">diminished</a> or missing seventh factor). For more seventh-chords, see {% gloss "chord extension" %}.</dd>

      <dt><span class="music">sus2</span>, <span class="music">sus4</span></dt>
      <dd><a href="https://en.wikipedia.org/wiki/Suspended_chord">Suspended second or fourth chord</a>, respectively.</dd>

      <dt class="music">5</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Power_chord">Power-chord</a>. No third factor, perfect fifth factor.</dd>

      <dt class="music">alt</dt>
      <dd>Shorthand for an <a href="https://en.wikipedia.org/wiki/Altered_chord#Altered_dominant_chord">altered dominant seventh-chord</a> with otherwise unspecified construction. May or may not affect the quality of the chord, as its third &amp; fifth factors may still form a major triad. For more seventh-chords, see {% gloss "chord extension" %}.</dd>
    </dl>
  </dd>

  <dt>ic</dt>
  <dd>Initialism of <i>{% gloss "intervalclass" %}</i>. Plural <dfn>ics</dfn>.</dd>

  <dt>ic-vector</dt>
  <dd>
    <p>
      Abbreviation of <dfn>{% gloss "intervalclass" %} vector</dfn>. Enumerates how many times each nonzero {% gloss "ic" %} is represented within a {% gloss "setclass" %} &mdash; or more generally, within any arbitrary <a href="https://en.wikipedia.org/wiki/Set_(mathematics)">set</a> of pitches or {% gloss "pitchclass", "pitchclasses" %} &mdash; by counting pairwise. {% gloss "collection", "Notated as" %} a <a href="https://en.wikipedia.org/wiki/Row_and_column_vectors">row vector</a> of six <a href="https://en.wikipedia.org/wiki/Natural_number">natural numbers</a> within <a href="https://en.wikipedia.org/wiki/Bracket#Angle_brackets">angle brackets</a>, representing ics 1 through 6 from left to right.
    </p>

    <p>
      For example, a <a href="https://en.wikipedia.org/wiki/Root_position">root-position</a> <a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a> might be represented in {% gloss "integer notation" %} as {% m "{0,4,7}" %}. The interval between {% m "0", 0 %} &amp; {% m "4", 0 %} represents ic&nbsp;4, between {% m "4", 0 %} &amp; {% m "7", 0 %} represents ic&nbsp;3, and between {% m "0", 0 %} &amp; {% m "7", 0 %} represents ic&nbsp;5. Thus, the ic-vector is {% m "<001110>", "icv" %}. Because a <a href="https://en.wikipedia.org/wiki/Minor_chord">minor triad</a> is {% gloss "inversional equivalence", "the inversion of" %} a major triad, repeating the same analysis with {% m "{0,3,7}" %} results in the same ic-vector, and indeed both are members of the same {% gloss "setclass" %} {% m "3-11" %}. However, in general, two setclasses may have the same ic-vector in spite of being otherwise distinct; this is called the <a href="https://en.wikipedia.org/wiki/Interval_vector#Z-relation"><dfn>Z-relation</dfn></a>.
    </p>

    <p>
      The total number of ics (counting duplicates) is the sum of the ic-vector&rsquo;s entries. In the example, this number is 3, because <math>
        <mrow>
          <mo>(</mo>
          <mfrac linethickness="0">
            <mn>3</mn>
            <mn>2</mn>
          </mfrac>
          <mo>)</mo>
        </mrow>
        <mo>=</mo>
        <mn>3</mn>
      </math>. In general, the number of ics is <math>
        <mrow>
          <mo>(</mo>
          <mfrac linethickness="0">
            <mi>n</mi>
            <mn>2</mn>
          </mfrac>
          <mo>)</mo>
        </mrow>
      </math> (a <a href="https://en.wikipedia.org/wiki/Triangular_number">triangular number</a>), where <math><mi>n</mi></math> is the <a href="https://en.wikipedia.org/wiki/Cardinality">cardinality</a> of a candidate underlying set (<strong>not</strong> setclass) of pitches.
    </p>
  </dd>

  <dt>integer notation</dt>
  <dd>
    <p>
      A way of representing pitches (or {% gloss "pitchclass", "pitchclasses" %}) as numbers. An <i>ad hoc</i> <a href="https://en.wikipedia.org/wiki/Origin_(mathematics)">origin</a> is chosen, and is assigned the number 0. Then, each pitch is assigned a number &mdash; which may be negative in some cases &mdash; equal to its distance, in <a href="https://en.wikipedia.org/wiki/Semitone">semitones</a>, away from the origin.
    </p>

    <p>
      When dealing with <a href="https://en.wikipedia.org/wiki/Natural_number">nonnegative integers</a> less than twelve, {% gloss "duodecimal" %} is used. This allows for each number to be represented as a single digit, so that visible separators (e.g. spaces or commas) are unnecessary. Instead, <code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>2063</code> &ldquo;invisible separator&rdquo; is used. In other cases, <a href="https://en.wikipedia.org/wiki/Decimal">decimal</a> can be assumed.
    </p>
  </dd>

  <dt>interval</dt>
  <dd>
    <p>
      The distance between two pitches, considered in any of various ways. At its most basic, an interval is a ratio between two {% gloss "fundamental", "fundamental frequencies" %} (although some <a href="https://en.wikipedia.org/wiki/Musical_tuning#Tuning_systems">tuning systems</a> have intervals that are <a href="https://en.wikipedia.org/wiki/Irrational_number">mathematically irrational</a>, so this is not true <i>sensu stricto</i>). See <a href="https://en.wikipedia.org/wiki/Interval_(music)">the relevant English Wikipedia article</a>.
    </p>

    <p>
      For ratios, I use the notation <var>n</var>&ratio;<var>d</var> (<code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>2236</code>; &ldquo;ratio&rdquo;). For <a href="https://en.wikipedia.org/wiki/Cent_(music)">cents</a>, I use the unit symbol <span class="music">&cent;</span> (<code>U+00a2</code>; &ldquo;cent sign&rdquo;). For <dfn>named intervals</dfn>, I use the following shorthands:
    </p>

    <dl>
      <dt class="music">P</dt>
      <dd>Perfect. For example, {% m "P1" %} = &ldquo;perfect <a href="https://en.wikipedia.org/wiki/Unison">unison</a>&rdquo; = 1&ratio;1.</dd>

      <dt class="music">m</dt>
      <dd>Minor. For example, {% m "m2" %} = &ldquo;<a href="https://en.wikipedia.org/wiki/Semitone#Minor_second">minor second</a>&rdquo; (in {% gloss "12 EDO", "12&nbsp;EDO" %}: 1&it;&nbsp;<a href="https://en.wikipedia.org/wiki/Semitone">semitone</a>).</dd>

      <dt class="music">M</dt>
      <dd>Major. For example, {% m "M2" %} = &ldquo;<a href="https://en.wikipedia.org/wiki/Major_second">major second</a>&rdquo; (in 12&nbsp;EDO: 2&it;&nbsp;semitones).</dd>

      <dt class="music">d</dt>
      <dd>Diminished. For example, {% m "d4" %} = &ldquo;<a href="https://en.wikipedia.org/wiki/Diminished_fourth">diminished fourth</a>&rdquo; (in 12&nbsp;EDO: 4&it;&nbsp;semitones).</dd>

      <dt class="music">A</dt>
      <dd>Augmented. For example, {% m "A5", "inter" %} = &ldquo;<a href="https://en.wikipedia.org/wiki/Augmented_fifth">augmented fifth</a>&rdquo; (in 12&nbsp;EDO: 8&it;&nbsp;semitones).</dd>

      <dt class="music">TT</dt>
      <dd><a href="https://en.wikipedia.org/wiki/Tritone">Tritone</a> = 6&it;&nbsp;semitones.</dd>
    </dl>
  </dd>

  <dt>intervalclass</dt>
  <dd>
    <p>
      The <a href="https://en.wikipedia.org/wiki/Equivalence_class">equivalence-class</a> of {% gloss "interval", "intervals" %} under both {% gloss "pitchclass", "octave equivalence" %} <em>and</em> {% gloss "inversional equivalence" %}. Expressed in <a href="https://en.wikipedia.org/wiki/Semitone">semitones</a>. Any {% gloss "ic" %} falls within the range <math><mn>0</mn><mo>&le;</mo><mi>ic</mi><mo>&le;</mo><mn>6</mn></math>.
    </p>

    <p>
      For example, in {% gloss "12 EDO", "12&nbsp;EDO" %}, all of the following intervals &mdash; regardless of whether they&rsquo;re ascending or descending &mdash; are members of ic&nbsp;4: {% m "M3" %}, {% m "m6" %}, {% m "d4" %}, {% m "d11" %}, {% m "m13" %}, {% m "M10" %}, etc..
    </p>

    <p>
      See also: <i>{% gloss "ic-vector" %}</i>.
    </p>
  </dd>

  <dt>interval quality</dt>
  <dd>The quality of an {% gloss "interval" %} is perfect, or major, or minor, or augmented, or diminished, etc.; as opposed to its {% gloss "interval quantity", "quantity" %}.</dd>

  <dt>interval quantity</dt>
  <dd>The quantity of an {% gloss "interval" %} is a unison, or a second, or a third, or a fourth, etc.; as opposed to its {% gloss "interval quality", "quality" %}.</dd>

  <dt>inversional equivalence</dt>
  <dd>
    <p>
      Equivalence under <a href="https://en.wikipedia.org/wiki/Inversion_(music)#Inversional_equivalency_and_symmetry">inversion</a> around any axis. Always used in combination with <a href="https://en.wikipedia.org/wiki/Transposition_(music)#Transpositional_equivalence">transpositional equivalence</a>, although the converse is not necessarily true. See also: <i>{% gloss "intervalclass" %}</i>.
    </p>

    <p>
      To get from the <a href="https://en.wikipedia.org/wiki/Set_(music)#Non-serial">prime form</a> of a {% gloss "setclass" %} to the prime form of its inversion (or vice versa), count {% gloss "interval", "intervals" %} from the highest number downward. For example, {% m "3-5A" %} can be read right-to-left as 6&nbsp;&minus;&nbsp;6 = <b>0</b>, 6&nbsp;&minus;&nbsp;1 = <b>5</b>, and 6&nbsp;&minus;&nbsp;0 = <b>6</b>; so its inverse is {% m "3-5B" %}.
    </p>
  </dd>

  <dt>macroharmony</dt>
  <dd>
    <p>
      The collection (or possibly, distribution) of pitches (usually {% gloss "pitchclass", "pitch<em>classes</em>" %} &mdash; see {% gloss "scale", "the entry for <i>scale</i>" %}) used throughout some music, considered at a broader scope than a {% gloss "scale" %}. Essentially a generalization of the traditional notion of <a href="https://en.wikipedia.org/wiki/Key_(music)">key</a>, as well as an alternative way to understand &ldquo;<a href="https://en.wikipedia.org/wiki/Borrowed_chord">modal mixture</a>&rdquo;.
    </p>

    <p>
      Macroharmony is especially relevant when certain alterations are commonly made to a scale or other source of pitches, or when scales alternate with each other as in e.g. classical minor-key harmony (where <a href="https://en.wikipedia.org/wiki/Minor_scale#Natural_minor_scale">natural minor</a>, <a href="https://en.wikipedia.org/wiki/Harmonic_minor_scale">harmonic minor</a>, &amp; <a href="https://en.wikipedia.org/wiki/Jazz_minor_scale">melodic minor</a> co&euml;xist). Another example is the so-called <a href="https://en.wikipedia.org/wiki/Blues_scale"><i>blues &ldquo;scale&rdquo;</i></a>, which is <em>not</em> a scale in the proper sense (although it could be forcibly &amp; artificially turned into one), but <em>can</em> be a meaningful macroharmony in some cases.
    </p>

    <p>
      This term is taken from {% cite "GeomMusic", true %}.
    </p>
  </dd>

  <dt>melodic contour</dt>
  <dd>
    <p>
      An abstraction of melody that considers only its general shape, to the exclusion of exact pitches, exact {% gloss "interval" %} sizes, &amp; {% gloss "timing", "timings" %}.
    </p>

    <p>
      One method of encoding contour is with the <a href="https://en.wikipedia.org/wiki/Parsons_code"><dfn>Parsons code</dfn></a>. Every Parsons code begins with a <code>*</code> representing the first note, which is then followed by one additional character for each successive note in the melody: <code>d</code> &ldquo;down&rdquo; if lower in pitch than the previous note, <code>r</code> &ldquo;repeat&rdquo; if equal, or <code>u</code> &ldquo;up&rdquo; if higher.
    </p>

    <p>
      Another method of encoding contour, which contains more information, is using {% gloss "contour space" %}.
    </p>
  </dd>

  <dt>mode</dt>
  <dd>
    <p>
      A particular instantiation of a {% gloss "scale" %} that endows it with a privileged member &mdash; a &ldquo;first&rdquo; pitch (which may be a &ldquo;tonic&rdquo; pitch). A scale (assuming symmetry of ascent &amp; descent) with <var>n</var> distinct members has <var>n</var> possible modes.
    </p>

    <p>
      For convenience, however, many scales are thought of as having a &ldquo;default&rdquo; mode that is implicit &mdash; thus blurring the distinction between the scale &amp; its implicit mode. For example, the <a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic scale</a> usually defaults to its <a href="https://en.wikipedia.org/wiki/Major_scale">major</a> mode (AKA the modern <a href="https://en.wikipedia.org/wiki/Ionian_mode"><i>Ionian</i> mode</a>).
    </p>

    <p>
      A mode&rsquo;s members may be labelled with numerals that have <a href="https://en.wikipedia.org/wiki/Circumflex">circumflexes</a> upon them: the first <a href="https://en.wikipedia.org/wiki/Degree_(music)"><dfn>degree</dfn></a> of the mode is {% m "1^" %}, the second degree is {% m "2^" %}, and so on. The same notation, &amp; use of the term <i>degree</i>, is also applied to <a href="https://en.wikipedia.org/wiki/Key_(music)">keys</a>, where the term <i>tonic</i> is more meaningful.
    </p>
  </dd>

  <dt>omitted factor</dt>
  <dd>
    <p>
      A factor of a chord that is absent, in spite of its presence being implied by {% gloss "chord quality", "the chord&rsquo;s basic quality" %}.
    </p>

    <p>
      When the fifth factor is implied to be perfect, but is nonetheless absent, and the other expected factors are present, the fifth&rsquo;s omission is usually considered unimportant, and is thus left unspecified. In some cases (especially in <a href="https://en.wikipedia.org/wiki/Jazz">jazz</a>), the root may be omitted, in which case its omission is typically unspecified as well.
    </p>

    <p>
      In {% gloss "chord notation", "the chord notation used here" %}, the following notations are used to specify omissions:
    </p>

    <dl>
      <dt style="font-style: normal;">[<i>nothing</i>]</dt>
      <dd>No omissions (or an unspecified omission of the fifth factor &amp;/or root, if appropriate).</dd>

      <dt class="music">no1</dt>
      <dd>Omitted root.</dd>

      <dt class="music">no3</dt>
      <dd>Omitted third factor.</dd>

      <dt class="music">no5</dt>
      <dd>Omitted fifth factor.</dd>
    </dl>
  </dd>

  <dt>pc</dt>
  <dd>Initialism of <i>{% gloss "pitchclass" %}</i>. Plural <dfn>pcs</dfn>.</dd>

  <dt>pitch-material</dt>
  <dd>The pitches used by a piece of music. Encompasses {% gloss "vertical" %} &amp; {% gloss "horizontal" %} {% gloss "interval", "intervals" %}, {% gloss "pitchclass", "pitchclasses" %}, {% gloss "setclass", "setclasses" %}, {% gloss "chord", "chords" %}, {% gloss "scale", "scales" %}, {% gloss "mode", "modes" %}, {% gloss "macroharmony", "macroharmonies" %}, etc..</dd>

  <dt>pitchclass</dt>
  <dd>The <a href="https://en.wikipedia.org/wiki/Equivalence_class">equivalence-class</a> of all pitches whose {% gloss "fundamental" %} frequencies are related by an integer number of <a href="https://en.wikipedia.org/wiki/Octave">octaves</a> (including 0&it;&nbsp;octaves &mdash; that is, a unison); this equivalence is called <dfn>octave equivalence</dfn>. For example, in {% gloss "12 EDO", "12&nbsp;EDO" %}, {% m "C2" %}, {% m "C5" %}, &amp; {% m "B#3" %} are all members of the pitchclass typically referred to as {% m "C" %}.</dd>

  <dt>RNA</dt>
  <dd>Initialism of <i>{% gloss "Roman numeral analysis" %}</i>.</dd>

  <dt>Roman numeral analysis</dt>
  <dd>
    <p>
      A traditional form of {% gloss "chord" %}wise harmonic analysis that uses <a href="https://en.wikipedia.org/wiki/Roman_numerals">Roman numerals</a> to represent each chord&rsquo;s <a href="https://en.wikipedia.org/wiki/Root_(chord)">root</a> as a {% gloss "mode", "degree" %} of the <a href="https://en.wikipedia.org/wiki/Key_(music)">key</a>. See <a href="https://en.wikipedia.org/wiki/Roman_numeral_analysis">the relevant English Wikipedia article</a>.
    </p>

    <p>
      The notation used here for {% gloss "RNA" %} is based closely upon that specified in {% gloss "chord notation", "the chord notation entry" %}. However, there are some important differences:
    </p>

    <ul>
      <li>Rather than the default {% gloss "chord quality" %} always being that of a major triad, an uppercase Roman numeral retains this default, while a lowercase numeral makes a minor triad (or more generally, a minor third factor) the default.</li>
      <li>An accidental (<span class="music">&flat;</span> or <span class="music">&sharp;</span>) may appear before the Roman numeral, in which case the root&rsquo;s relationship to the key&rsquo;s tonic is shifted by semitone (down or up, respectively) relative to the {% gloss "interval quality", "major or perfect" %} version of the tonic-to-root ascending {% gloss "interval" %}. In other words, the Roman numerals &amp; their accidentals are <em>always relative to a major key</em> based on the tonic, even when the key isn&rsquo;t major. For example, the diatonic <a href="https://en.wikipedia.org/wiki/Submediant">submediant</a> triad in the key of {% m "A" %} minor is {% m "F", "chord" %} {% gloss "U+2258", "&#x2258;" %} {% m "bVI" %} (<strong>not</strong> {% m "VI" %}, which would be {% m "F#", "chord" %}).</li>
      <li>A slash is used for <a href="https://en.wikipedia.org/wiki/Secondary_chord">applied chords (AKA <i>secondary chords</i>)</a>. This means that {% gloss "chord inversion", "chord inversions" %} that cannot be represented using <a href="https://en.wikipedia.org/wiki/Figured_bass">figured-bass</a>-style notation are either omitted, or else written with a <a href="https://en.wikipedia.org/wiki/Circumflex">circumflexed</a> <a href="https://en.wikipedia.org/wiki/Arabic_numerals">Hindu&ndash;Arabic numeral</a> after the slash, instead of a Roman numeral. For example, in the key of {% m "C" %} major, {% m "D9", "chord" %} &#x2258; {% m "V9/V" %}, but {% m "G9/A" %} &#x2258; {% m "V9/6" %} (or simply {% m "V9" %}).</li>
      <li>The seventh &amp; higher factors &mdash; as well as the fifth factor of a power-chord &mdash; may be given as <a href="https://en.wikipedia.org/wiki/Subscript_and_superscript">superscripts</a>, and may be separated with commas.</li>
    </ul>
  </dd>

  <dt>scale</dt>
  <dd>
    <p>
      A collection of pitches that <em>typically</em> repeats at the octave, and that is contrasted with a {% gloss "chord" %} by usually having at least five members (rather than at least two), and most importantly, by being used as the primary source of {% gloss "horizontal" %} {% gloss "pitch-material" %} (and often also of {% gloss "vertical" %}). The distance from a scale member to the next-higher or next-lower scale member is called a <dfn>step</dfn>.
    </p>

    <p>
      Some scales do not repeat at the octave, leading to the contrast of <dfn>octave-repeating</dfn> vs. <dfn>non-octave-repeating</dfn> scales. Only in the former can the scale members be thought of as {% gloss "pitchclass", "pitchclasses" %}. Moreover, some scales &mdash; most notably <a href="https://en.wikipedia.org/wiki/Minor_scale#Melodic_minor_scale">melodic minor</a> &mdash; may be different depending on whether they are ascended or descended.
    </p>

    <p>
      When a scale has a privileged member &mdash; a &ldquo;first&rdquo; pitch (or &ldquo;tonic&rdquo; pitch) &mdash; it is actually instead a <em>{% gloss "mode" %}</em> of the underlying scale. For convenience, however, many scales are thought of as having a &ldquo;default&rdquo; mode that is implicit.
    </p>
  </dd>

  <dt>setclass</dt>
  <dd>
    <p>
      Abbreviation of <dfn>{% gloss "pc" %}-<a href="https://en.wikipedia.org/wiki/Set_(mathematics)">set</a> class</dfn>, which is in turn an abbreviation of <dfn>{% gloss "pitchclass" %}-set <a href="https://en.wikipedia.org/wiki/Equivalence_class">equivalence-class</a></dfn>: an equivalence-class of pc-sets that are related by <a href="https://en.wikipedia.org/wiki/Transposition_(music)#Transpositional_equivalence">transpositional equivalence</a>, and often also by {% gloss "inversional equivalence" %}. The term <dfn><var>n</var>-setclass</dfn> is used to refer to a setclass whose elements each have <var>n</var> pcs in them (e.g. {% m "3-5" %} is a 3-setclass).
    </p>

    <p>
      Equivalence-classes are conventionally denoted in mathematics by enclosing a representative element in square brackets. However, because square brackets are already overloaded in music notation, I instead use <span class="music">&lobrk;&#x22ef;&robrk;</span> (<code><a href="https://en.wikipedia.org/wiki/Unicode#Codespace_and_code_points">U+</a>27e6</code>&hellip;<code>U+27e7</code>; &ldquo;mathematical white square brackets&rdquo;, AKA &ldquo;doubled square brackets&rdquo;) to enclose the <a href="https://en.wikipedia.org/wiki/Set_(music)#Non-serial">prime form</a> of the setclass. Moreover, I include the <a href="https://en.wikipedia.org/wiki/Forte_number">Forte number</a> as a subscript immediately after the closing bracket. For example: {% m "3-5" %}.
    </p>

    <p>
      When inversional equivalence is not observed, <span class="music"><span class="piggpar">&#x2045;</span>&#x22ef;<span class="piggpar">&#x2046;</span></span> (<code>U+2045</code>&hellip;<code>U+2046</code>; &ldquo;square brackets with quill&rdquo;, AKA &ldquo;spike parentheses&rdquo; or &ldquo;<i lang="sv">piggparenteser</i>&rdquo;) are used instead. Also in this case, the Forte number for invertible setclasses is suffixed with an &ldquo;<span class="music">A</span>&rdquo; to denote the prime form, and a &ldquo;<span class="music">B</span>&rdquo; for its inversion. For example: {% m "3-5B" %}.
    </p>
  </dd>

  <dt>sonority</dt>
  <dd>The collection of all pitched sounds audible at a particular moment in time. Contrasted with its more inclusive counterpart, the {% gloss "simultaneity" %}. Less abstract than a {% gloss "chord" %}, because it&rsquo;s tied to a particular moment.</dd>
{% endglosslist %}

{% h3 %}Texture{% endh3 %}

{% glosslist %}
  <dt>anticontrary</dt>
  <dd>A type of {% gloss "motion" %} that encompasses both similar &amp; parallel motion. Opposed to contrary motion, to the exclusion of oblique motion (which is neither contrary nor anticontrary).</dd>

  <dt>cosip</dt>
  <dd>{% ipa "en" %}&#x2c8;ko&#x28a;&#x32f;.s&#x26a;p{% endipa %}. Acronym of <i><b>c</b>ontrary, <b>o</b>blique, <b>s</b>imilar, <b>i</b>mperfect parallel, &amp; <b>p</b>erfect parallel</i> {% gloss "motion", "motions" %}.</dd>

  <dt>horizontal</dt>
  <dd>Arranged throughout time, as opposed to {% gloss "vertical", "vertically" %}. Pitchwise, the archetypal horizontal construction is a melody.</dd>

  <dt>homeophony</dt>
  <dd>
    <p>
      {% ipa "en" %}&#x2cc;ho&#x28a;&#x32f;.mi&#x2c8;&#x252;.f&#x259;.ni{% endipa %}. A texture defined in <a href="/post/turtlelephant/#a-texture">this essay</a>. <strong>Not</strong> to be confused with <a href="https://en.wikipedia.org/wiki/Homophony"><i>homophony</i></a>. May alternatively be spelt &lang;homoeophony&rang; or &lang;hom&oelig;ophony&rang;, but here I prefer the spelling &lang;homeophony&rang;.
    </p>
  </dd>

  <dt>motion</dt>
  <dd>
    <p>
      Relative motion between two or more simultaneous pitched {% gloss "voice", "voices" %}, typically understood in terms of <a href="https://en.wikipedia.org/wiki/Contrapuntal_motion">contrapuntal motion</a>. I use the following categories, in generally descending order of independence:
    </p>

    <dl>
      <dt>contrary</dt>
      <dd>The voices move in opposite directions.</dd>

      <dt>oblique</dt>
      <dd>One voice moves while the other does not.</dd>

      <dt>similar</dt>
      <dd>The voices move in the same direction, but by different amounts. In music with meaningful {% gloss "macroharmony" %}, the &ldquo;amounts&rdquo; are typically calculated {% gloss "scale" %}wise; that is, in terms of scale steps.</dd>

      <dt>imperfect parallel</dt>
      <dd>The voices move in the same direction &amp; by the same amount (scalewise, if applicable); but not in a way that qualifies as perfect parallel motion.</dd>

      <dt>perfect parallel</dt>
      <dd>The voices move in the same direction &amp; by the same amount; furthermore, the starting &amp; ending {% gloss "interval", "intervals" %} are exactly (chromatically) identical, and that {% gloss "interval quality", "interval is perfect" %}.</dd>
    </dl>

    <p>
      By acronymizing each of these five motion types to its initial letter, we get the mnemonic <i>{% gloss "cosip" %}</i>. A simplification of cosip ignores oblique motion, dichotomizing into contrary &amp; <i>{% gloss "anticontrary" %}</i> motion.
    </p>
  </dd>

  <dt>simultaneity</dt>
  <dd>The collection of all sounds &mdash; pitched &amp; unpitched alike &mdash; audible at a particular moment in time. Contrasted with its pitched counterpart, the {% gloss "sonority" %}.</dd>

  <dt>texture</dt>
  <dd>
    <p>
      The way in which {% gloss "voice", "musical voices" %} are combined to produce a segment (small or large) of music.
    </p>

    <p>
      Traditionally focuses on pitched voices, but can generally include any sounds. Common concerns include how voices move relative to one another, which voices are &ldquo;melodic&rdquo; &amp; which are &ldquo;accompaniment&rdquo;, how many voices are present &amp; in what registers, which voices are made to &ldquo;blend&rdquo; together or not, etc..
    </p>
  </dd>

  <dt>vertical</dt>
  <dd>Arranged atemporally &mdash; that is, in terms of sounds occurring simultaneously &mdash; as opposed to {% gloss "horizontal", "horizontally" %}. Pitchwise, the archetypal vertical construction is a {% gloss "chord" %}.</dd>

  <dt>voice</dt>
  <dd>
    <p>
      In this abstract sense, a voice is the smallest unit of temporal continuity in music. Parts played on separate instruments are typically distinct voices on some level, but a single instrument (e.g. a piano or a drumkit) may produce multiple voices concurrently. The production of more than one distinct note at a given time implies the existence of more than one voice at that time.
    </p>

    <p>
      In the case of pitched voices, the part played by a single voice is called a <dfn>melody</dfn>. However, in general, a voice needn&rsquo;t be pitched at all.
    </p>
  </dd>
{% endglosslist %}

{% h3 %}Timbre{% endh3 %}

{% glosslist %}
  <dt>attack</dt>
  <dd>The noisy onset of certain {% gloss "timbre", "timbres" %}. Some timbres have little or no attack, others are totally dominated by attack, and yet others are somewhere in between.</dd>

  <dt>fundamental</dt>
  <dd>The lowest-frequency {% gloss "partial" %} of a sound; that is, the 1<sup>st</sup> partial (=&nbsp;1<sup>st</sup> {% gloss "harmonic" %}).</dd>

  <dt>harmonic</dt>
  <dd>
    <p>
      A {% gloss "partial" %} that is a member of the <a href="https://en.wikipedia.org/wiki/Harmonic_series_(music)">harmonic series</a> of the {% gloss "fundamental" %}, meaning that its frequency is an integer multiple of the fundamental frequency.
    </p>

    <p>
      Harmonics are numbered from the 1<sup>st</sup> being the fundamental, the 2<sup>nd</sup> being twice that frequency, and so on, with no regard for which harmonics are actually present in the sound.
    </p>
  </dd>

  <dt>harmonicity</dt>
  <dd>A property of a sustained sound: that its {% gloss "partial", "partials" %} are predominantly {% gloss "harmonic", "harmonics" %}.</dd>

  <dt>inharmonicity</dt>
  <dd>The opposite of harmonicity: many of the sound&rsquo;s {% gloss "partial", "partials" %} are not {% gloss "harmonic", "harmonics" %}.</dd>

  <dt>partial</dt>
  <dd>
    <p>
      Any <a href="https://en.wikipedia.org/wiki/Frequency">frequency</a> component of a sound, regardless of its {% gloss "harmonicity" %}.
    </p>

    <p>
      Partials are numbered from the 1<sup>st</sup> being the {% gloss "fundamental" %}, the 2<sup>nd</sup> being the next-highest audible partial, and so on, with no regard for harmonicity.
    </p>
  </dd>

  <dt>timbre</dt>
  <dd>
    <p>
      The quality of a sound, as considered apart from any pitch that it might have. A primary point of differentiation between musical instruments.
    </p>

    <p>
      In spite of its foundational nature, timbre &mdash; especially how humans perceive it &mdash; remains poorly understood. Basic explanations appeal to the <a href="https://en.wikipedia.org/wiki/Spectral_density">power spectrum</a> (including {% gloss "partial", "partials" %} {% gloss "harmonicity", "harmonic" %} or not), the nature of a note&rsquo;s {% gloss "attack" %}, and more generally its <a href="https://en.wikipedia.org/wiki/Envelope_(music)">envelope</a>.
    </p>
  </dd>
{% endglosslist %}

{% h3 %}Tradition, genre, &amp; style{% endh3 %}

{% glosslist %}
  <dt>emocore</dt>
  <dd>
    <p>
      A retrospective term (the earliest emocore bands would have been simply &ldquo;hardcore&rdquo;) blending <i><b>emo</b>tive</i> + <i>hard<b>core</b></i>. This splinter of post-hardcore emerged in the mid-1980s, defining itself in opposition to its hardcore parents by its greater use of (relatively) slow tempi, explicitly melodic material, {% gloss "dynamic range" %}, and introspectively emotional lyrics. Exemplars include {% band "Rites of Spring" %} and {% band "Moss Icon" %}.
    </p>

    <p>
      Although the historic activity of &ldquo;emocore proper&rdquo; was limited &amp; didn&rsquo;t last long, this was arguably because it almost immediately gave rise to manifold new scenes &amp; styles, the umbrella of which is sometimes simply called <dfn>emo</dfn> (although this term has seen mild abuse as a result of its commercialization). Nevertheless, the use of the term <i>emocore</i> always refers <em>strictly</em> to this particular style, rather than any of its more or less distant descendants.
    </p>
  </dd>

  <dt>mathpop</dt>
  <dd>A subgenre of {% gloss "mathrock" %} defined by its unexpected use of features characteristic of pop (or {% gloss "pop-punk" %}) music, especially catchy vocal melodies and identifiable chorus {% gloss "section", "sections" %}. Exemplars include {% band "Heavy Vegetable" %}, {% band "The Dismemberment Plan" %}, {% band "TTNG" %}, {% band "The Brave Little Abacus" %}, {% band "tubelord" %}, and {% band "Feed Me Jack" %}.</dd>

  <dt>mathrock</dt>
  <dd>
    <p>
      Originally a subgenre of post-hardcore, this style of rock music emerged in the late 1980s &amp; early 1990s as a result of punk-driven experimentation with songwriting. The genre is defined by its focus on the primary instruments of rock &mdash; guitars &amp; drumkit &mdash; sometimes to the exclusion of vocals, its complete freedom of {% gloss "form", "musical form" %}, its difficult melodies (&amp; not infrequently, harmonies), its punk-rock attitude, and its complex uses of {% gloss "rhythm", "rhythms" %}, {% gloss "syncopation" %}, &amp; {% gloss "meter" %}. Mathrock has affinities with post-rock, although the two are not closely related. Exemplars include {% band "Ruins" %}, {% band "Slint" %}, {% band "Don Caballero" %}, {% band "Cheval de Frise" %}, {% band "Hella" %}, and {% band "TTNG" %}.
    </p>

    <p>
      Although originally a misnomer &mdash; as &ldquo;mathrock&rdquo; has no more to do with mathematics than any other style of music &mdash; this term is widely recognized to the point that it has terminologic descendants: <dfn>mathy</dfn> may be used as an adjective, and the genre of <i>mathcore</i> is similarly named, albeit not closely related.
    </p>
  </dd>

  <dt>midwest emo</dt>
  <dd>
    <p>
      A infusion of &ldquo;indie rock&rdquo; into post-hardcore, so named for its debt to {% gloss "emocore" %} in particular. Emerged in the mid-1990s.
    </p>

    <p>
      Defined by its often melodramatic {% gloss "dynamics", "dynamic" %} contrasts (borrowed from emocore), its ambivalent relationship to traditional well-tuned &amp; clearly-pitched vocal styles (in its most extreme manifestations, leading to {% gloss "midwest screamo" %}), and its characteristic &ldquo;twinkly&rdquo; guitar parts that combine clean (or mostly clean) electric guitars with <a href="https://en.wikipedia.org/wiki/Close_and_open_harmony">open-voiced</a> <a href="https://en.wikipedia.org/wiki/Arpeggio">arpeggi</a>. Has affinities with {% gloss "mathrock" %}. Exemplars include {% band "Sunny Day Real Estate" %}, {% band "Cap&rsquo;n Jazz" %}, {% band "American Football" %}, {% band "Mineral" %}, and {% band "The Brave Little Abacus" %}.
    </p>

    <p>
      The term itself is something of a misnomer, as the genre neither originated in, nor is exclusive to, the <a href="https://en.wikipedia.org/wiki/Midwestern_United_States">Midwestern U.S.</a>; nevertheless, some of its exemplars have hailed from there.
    </p>
  </dd>

  <dt>midwest screamo</dt>
  <dd>The fusion of {% gloss "midwest emo" %} with {% gloss "screamo" %}. Exemplars include {% band "The Little Explorer" %}, {% band "the cabs" %}, {% band "Merchant Ships" %}, {% band "William Bonney" %}, and {% band "Foxtails" %}.</dd>

  <dt>pop-punk</dt>
  <dd>A subgenre of punk that is defined by its focus on the primary thrust of pop music: catchy melodies &amp; singable harmonies. Has considerable overlap with <a href="https://en.wikipedia.org/wiki/Skate_punk">skate-punk</a>; also includes a handful of bands sometimes referred to as &ldquo;emo&rdquo;. Exemplars include {% band "Ramones" %}, {% band "Green Day" %}, {% band "Blink-182" %}, and {% band "My Chemical Romance" %}.</dd>

  <dt>popular music</dt>
  <dd>
    <p>
      The broad tradition of music that emerged at the turn of the 19<sup>th</sup> to the 20<sup>th</sup> <abbr title="century">c.</abbr> in the <abbr title="United States of America">U.S.A.</abbr> &mdash; but that is now thoroughly global &mdash; as an alloy of <a href="https://en.wikipedia.org/wiki/Tin_Pan_Alley">Tin Pan Alley</a> music, <a href="https://en.wikipedia.org/wiki/Blues">the blues</a>, &amp; local <a href="https://en.wikipedia.org/wiki/Country_music">country</a> &amp; <a href="https://en.wikipedia.org/wiki/American_folk_music">folk music traditions</a>, and that was subsequently launched by the advent of radio broadcasting.
    </p>

    <p>
      Strongly distinguished from <dfn>pop music</dfn>, which is a specific (albeit loosely-defined) genre <em>within</em> popular music.
    </p>
  </dd>

  <dt>post-rock</dt>
  <dd>
    <p>
      A subgenre of rock music defined by its explicit abandonment of rock (&amp; generally {% gloss "popular music" %}) {% gloss "form", "song structure" %}, its emphasis on {% gloss "timbre" %} &amp; {% gloss "texture" %}, and its frequently lengthy, meandering, &amp;/or atmospheric compositions that draw focus away from vocals (or lack vocals entirely). Exemplars include {% band "Talk Talk" %}, {% band "Slint" %}, {% band "Tortoise" %}, and {% band "Do Make Say Think" %}.
    </p>
  </dd>

  <dt>powerviolence</dt>
  <dd>An intensification of hardcore punk characterized by even more extreme tempi, breakneck transitions, sporadic use of <a href="https://en.wikipedia.org/wiki/Blast_beat">blastbeats</a>, sporadic slower but bass-heavy breaks, and occasional experimentation with electronics or sampling. Closely related to <a href="https://en.wikipedia.org/wiki/Thrashcore">thrashcore</a>, and fused with <a href="https://en.wikipedia.org/wiki/Metalcore">metalcore</a> to form <a href="https://en.wikipedia.org/wiki/Grindcore">grindcore</a>. Exemplars include {% band "Siege" %}, {% band "Man Is The Bastard" %}, {% band "Charles Bronson" %}, and {% band "Gasp" %}.</dd>

  <dt>PV</dt>
  <dd>Initialism of <i>{% gloss "powerviolence" %}</i>.</dd>

  <dt>screamo</dt>
  <dd>
    <p>
      A subgenre of post-hardcore that emerged in <a href="https://en.wikipedia.org/wiki/California">California</a> in the early 1990s, defined by its typically screamed vocal technique, its oblique or abrupt {% gloss "form", "song structures" %}, its melodramatic juxtaposition of heavily-distorted &amp; dissonant sections with quiet &amp; peaceful sections, and its aggressive tempi that sometimes reach beyond those of its hardcore punk forebears. Exemplars include {% band "Orchid" %}, {% band "Saetia" %}, {% band "City of Caterpillar" %}, and {% band "Da&iuml;tro" %}.
    </p>

    <p>
      Sometimes referred to by the neologism <dfn>skramz</dfn>. The term <i>screamo</i> has been subject to some abuse as a result of its apparent (but false) etymologic suggestion of &ldquo;any music with screamed or otherwise unclean vocals&rdquo;.
    </p>
  </dd>

  <dt>Western classical</dt>
  <dd>
    <p>
      The Western written music tradition generally considered to have begun some time <a href="https://en.wikipedia.org/wiki/Medieval_music">during the medieval period</a>, and stretching through the present day. Defined musically by its strong focus on {% gloss "pitch-material" %}; particularly the historic development of, use of, &amp; subsequent reaction against, the <a href="https://en.wikipedia.org/wiki/Tonality">tonality</a> of so-called <a href="https://en.wikipedia.org/wiki/Common_practice_period">Common Practice</a>.
    </p>

    <p>
      Some writers object to the use of the word <i>classical</i>, on account of the <a href="https://en.wikipedia.org/wiki/Classical_period_(music)"><dfn>Classical period</dfn></a> referring more specifically to the period of the Western classical tradition from <abbr title="circa">ca.</abbr> <time datetime="1750">1750</time>&ndash;<time datetime="1820">1820</time>, and also because Western classical music cannot be &ldquo;classical&rdquo; insofar as it continues to be practiced in very modern times. For these reasons, the term <dfn>Western art music</dfn> is frequently employed.
    </p>

    <p>
      However, I make the distinction between the <i>Western classical tradition</i> and the <i>Classical period</i> based partly on capital&shy;ization (of the &lang;c&rang; vs. &lang;C&rang;), and partly on <a href="https://en.wikipedia.org/wiki/Collocation">the other words used</a>. Moreover, just because something is &ldquo;classical&rdquo; &mdash; in the context of music, or in any other context &mdash; does not imply that it can&rsquo;t continue to be practiced (or revived, or what have you). I avoid *<i>art music</i> as a term in any context, as the word <i>art</i> here is nonoperative: all (or at least most) music is art, arguably by definition.
    </p>
  </dd>
{% endglosslist %}

{% refs %}
