Nineteenth-century melodies continue to be tuneful and are perhaps even more songlike than classical style melodies, although they may contain wider leaps. They still use sequences, which are often as a part of ___________ from one key to another. Melodies use more ____________ (or “colorful”) pitches from outside the home key and scale of composition. Along with the continuing emphasis on tuneful melodies comes predominantly ____________ textures.

What period is this music from?

what period is this piece from?

The German Lied, Der Erlkönig (in English, The Erlking) is composed by____________.

The wider nineteenth-century interest in _______ and in exploring connections between all of the arts led to musical scores with more poetic or prose instructions from the __________. It also led to more program music, which as you will recall, is instrumental music that represents something “extra musical,” that is, something outside of music itself, such as nature, a literary text, or apainting. Nineteenth-century critics and philosophers sustained expansive debates about ways in which listeners might hear music as related to the extra musical. ____________, from the characteristic title to a narrative attached to a musical score, guided composers and listeners as they composed and heard musical forms.

A) Give an action of the muscle group that the arrows point to. B) How many muscles are in the group?

A) Identify muscle B.

A) Identify the type of muscle tissue seen here (skeletal, cardiac or smooth). B) Is this muscle tissue voluntary or involuntary?

A) What is the entire structure that arrow B points to called?

A) Give an action of the muscle that the arrow points to.