Anthropology 324 Exam 2

Front 1

Utiricularius

Back 1

Aka the bag pope. Dates back to roman emperor nero

Front 2

Plob mhor

Back 2

aka scottish highland bagpipe. also called the great pipes. air tight bag with long pipes

Front 3

chanter

Back 3

finger holes, playes melody on bagpipe

Front 4

blow pipe

Back 4

fills up the bag with air

Front 5

drone pep

Back 5

produces a continous sound (loud and rich in harmonica)

Front 6

gracings

Back 6

grace notes inserted in bag pipe music

Front 7

cutting

Back 7

insertion of grace notes to literally cut or divide a sustained note

Front 8

birl

Back 8

one tye of doubling

Front 9

grips

Back 9

rapid grace notes in the lower part of the chanters range

Front 10

uilleann

Back 10

aka union or elbow pip. no breathing, played in ireland and indoors

Front 11

pibroach

Back 11

consist of the air or melody with extended variations. slow and longer than a march or dance tune. created by MacCrimmons

Front 12

MacCrimmons

Back 12

created pibroach

Front 13

canntaireacd

Back 13

mouth music, vocal style that imitates the pipes. uses vocables

Front 14

ceilidhs

Back 14

refers to any social musical event with scottish or irish traditions

Front 15

raga nilambari

Back 15

associated with lullibies. uses sargram notation. played in hindu temples to induce sleep. used on devotional songs.

Front 16

raga

Back 16

indian system for organized melodies. emptional connotation

Front 17

indian sargram notation

Back 17

sa, re, ga, ma, pa, dha, ni

Front 18

gamaka

Back 18

type of ornamentation

Front 19

musical entertainment

Back 19

refers to alignment of bodily motion during musical experience

Front 20

kriti

Back 20

aka kirtanam. played in temples. devotional songs

Front 21

lullaby

Back 21

aka talattu. uses vocables

Front 22

tala

Back 22

time cycle consisting of fixed number of counts

Front 23

tala adi

Back 23

subdivides 8 beat units; 4+2+2

Front 24

mrdangam

Back 24

long drum. double headed

Front 25

vocables

Back 25

syllables with no literal ensemble

Front 26

charro costume

Back 26

worn by marachi bands. like horsemen/ cowboys

Front 27

guitarron

Back 27

larg, bass guitar with convex resonator

Front 28

vihuela

Back 28

smaller strummed guitar with convex resonator

Front 29

dispora communities

Back 29

dispersion in greek. people living outside their ansectral homelands

Front 30

oral transmission

Back 30

passed along from person to person through performance. can be intend(stu/teacher) or casual

Front 31

written transmission

Back 31

passed along from person to person through written source

Front 32

musical notation

Back 32

veries through cultures.differ in way written/sung

Front 33

gold mountain

Back 33

aka jinshah. chinese migration began 1850 as voluntary because attracted to U.S possibilities.

Front 34

muyu

Back 34

traditional southeastern genere. transmitted orally or written song books. sung at various occasions. singers add vocables.

Front 35

erhu

Back 35

two stringed bowed fiddle. hexagonal resonator covered with snakes skin. cylindrical neck.

Front 36

pipa

Back 36

four stringer pear shaped frettled lute. solid wood

Front 37

zeng

Back 37

zither eith movable bridges. player bends the strings with left hand and plucks with plectra on right hand.

Front 38

yanqin

Back 38

hammered zither with light and thin bamboo mallets

Front 39

chain migration

Back 39

constant flow of new immigrants to keep the connections to the homeland alive

Front 40

quarter tones

Back 40

intervals that are approximately in the middle of a half step

Front 41

tarab

Back 41

transcended emotional experience that comes from the combination of highly expressive music and poetry

Front 42

responsorial singing

Back 42

alternates solo and chior

Front 43

antiphonial singing

Back 43

alternates two chiors

Front 44

magam

Back 44

set of notes with particular intervallic patterns and melodic gestures

Front 45

ud

Back 45

chordophone used in arab music. short neck. large body with rounded back. ten strings. plectrum plucked. several ribs of light weight wood.

Front 46

mawwal

Back 46

traditional non-metric vocal improv that laternates refrains and free rhythm sections

Front 47

black spirtituals

Back 47

musical expression of slaves converted to christianity

Front 48

slave songs of us

Back 48

first collection of spirtituals was published

Front 49

improv

Back 49

distinctive vocal style in early spirituals

Front 50

heterophonic texture

Back 50

created by superposition of diverse rhymthic versions of the same melody . alternating call and response.

Front 51

jubilee singers of fisk university

Back 51

in nashville. 1866. sung black spirituals. transmission beyonf african american communities

Front 52

beigin opera

Back 52

aka peking opera. combines music, dance, drama, make up and costumes along with martial arts

Front 53

anhwei opera troupees

Back 53

brought by emperor qian lon.

Front 54

male roles

Back 54

only male actors. art handed down from father to son

Front 55

training

Back 55

7 years of training. train in one category. based on gender, age, social status, rank, personality or military

Front 56

sheng

Back 56

elderly, young, miltary, male roles

Front 57

dan

Back 57

elder, flower, young or military female role

Front 58

jing

Back 58

civilian or military

Front 59

chou

Back 59

white patch on nose

Front 60

erhuang

Back 60

aka civil, graceful, sedate, lower and longer serious scenes

Front 61

xipi

Back 61

more vivacious, quicker and higher, fighting scenes

Front 62

percussion instruments

Back 62

gongs, clappers, cymbals

Front 63

melodic ensemble

Back 63

play intros for arias. play incidental music for dance and miming movements

Front 64

jinghu

Back 64

lead melodic instrument. small 2 string high pitch fiddle. heterophonic texture when mixed with singers of beijin opera

Front 65

yueqin

Back 65

circular bodied plucked lute with four strings

Front 66

band

Back 66

wood clapper

Front 67

cultural reformation

Back 67

communist replaces principles. dramas now inspired by patriotism and paoletarian themes

Front 68

revolutionary opera

Back 68

intergrations of western instruments. full bodied vocal timbre. everyday dialect

Front 69

3 theories of capoeria's orgin

Back 69

brought from africa, created by slaves in struggles for freedom and urban phenomenon in the suburbs of rio

Front 70

roda

Back 70

participants for a circle and take turns playing in pairs in the center

Front 71

ginga

Back 71

aka the sway. fundimental movement. capoeira

Front 72

malicia

Back 72

"cunning". positive aspects of character. playfulness and street smartness. capoeria.

Front 73

capoeira music

Back 73

complex systems. close relationship between music and motion. abouth religious prayers and famous capoeristas

Front 74

function of music

Back 74

determins beginning and end, tone and speed. regulates movement. references history. act as commentary

Front 75

berimbau

Back 75

lead instrument. single string bow with gourd resonator. strike with a stivk that changes the pitches by pressing the string with a metal coin. capoeira

Front 76

caxixi

Back 76

wicker rattle with seeds. capoeira

Front 77

bandeiro

Back 77

like a tamborine. capoeria

Front 78

atabaque

Back 78

tall "conga" drum. capoeria

Front 79

agogo

Back 79

cowbell. capoeria.

Front 80

reco reco

Back 80

scrapper similar to an aguiro. capoeria