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45 Cards in this Set

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QIN
A seven-stringed zither without frets on the bridges
Characteristics and History of the Qin
-It is the oldest and highest standing/status, intellectuals of the royal court.
-it is private and calm
-mostly professional, but can be ameture
-has programatic titles
The two types of Notation for the Qin
1) Wenzipu- prose tablature
2) jianzipu- writing character tablature-use of #'s in strings, stopping, and finger direction
Characteristics of Chinese music
-little improv
-notated system
-memorized
-repetition(internal)
embellished genre/instrument related peices
-has approaches to parallels:
-plato ca. 427-347 BC
-confusius ca. 551-479 BC
YANGQIN
"foreign zither"
- large dulcimer struck with bamboo sticks
-padded bamboo sticks,(not balsa wood like in Mid East)
CHENG
-16 stringed instrument with moveable bridges
-ex: cover picture of text book
PIPA
-4 stringed lute, pearshaped with short neck and has 24 frets
ERHU
2 stringed bowed chordophone
-hollow cylindrical body
-one end covered in snake skin
-related to the sanxian
YUEQIN
(not a zither)
"moon lute"
-4 stringed lute and round body and has a variety of neck lengths
DIZI
-Small 6-hole transverse flute
SUONA
(oboe like)
-conical, double reed instrument
SHENG
(Mouth Organ)
-17 bamboo pipes in circle
-each reed attached to base chamber of the body of the instrument
-made of copper, wood, or gourd and fixed to the mouth peice
Mao Zedong
1950-says that music transforms behavior
DANPIGU
-large single-headed drum
BAN
-a wooden clapper
GU
-a small framed, flat drum
Jiangnan sizhu
-Traditional form of Chinese music
-Jiangnan "background" South of Yangtze River
-sizhu "silk bamboo"
WUYU
"wooden fish"
-a wooden slit drum in a shape of a fish
PONGZHONG
small hand bells
Ba Da Qu
"Eight Great Famous Peices"
-heterophonic and acceleration with development
WENZIPU
prose tablature
JIANZIPU
character written tablature
-use of #'s for strings, stopping, and finger direction
DAPU
technique of reading tablature
SANQI
"Intoduction"
Begins slowly with free meter, and the introduces the notes of the mode
RUDIAO
"Entering the Music"
(longest) -moves away from the SANQI and develops the meter and main motives
-varied by extension or reduction of them
-changes tempo, timbre, or register
RUMAN
"Becoming Slower"
-further variation of the motives
-FUGI-"restatement" in longer compositions
-3rd part of the QIN style
WEISHENG
"Tail Sounds"
-the coda-always in harmonics and closes the piece
Fei Shi
Accesable music -for children
and moraly healthy
-opposes court music
-music of the theater
-est. in the 20th cent-for Mao Zedong, and propagana
Mass Songs
Songs for the Masses
Peking opera
major significant art form of China
Jing Ju
Theater of the Capitol
The dance and Style:
-dates to mid 9th cent
-wide array of story types
-wide audiences
5 roles of Jing Ju
1)Sheng
2)Dan
3)Jing
4)Mo
5)Chou
Sheng
Male role in Jing Ju

xiosheng-young man
laosheng-old man
wusheng-warrior
xiosheng
young man of Jing Ju
Laosheng
old man of Jing Ju
Dan
Major female role of Jing Ju
Qingyi
virtuous woman of Jing Ju-may be sung by a man
Huadan
Young woman/coquette of Jing Ju
Daomodan
Female Warrior of Jing Ju
Laodan
Old woman of Jing Ju
Jing
painted face role of Jing Ju
Identifies the personality of the Character
Mo
Minor Male Role in Jing Ju
Chou
Male comic role-clown
Wuchang
percussive part of Opera
-rhythmic base and acc. dance with gongs
Arrangements of Wenchang
1) Trio-large gong-(daluo), small gongs (xiaoluo), small pair of cymbals (naoba)
2)Duet-naola & xiaolo-tragic scenes
3)Solo-xiaoluo (lyrical/tranquil scenes)

-arias based on 30 pre-existing riffs, ban-melodic rhythmic patterns, sprechstimme
2 main types of Arias of Wuchang
By rhythm, tempo, and scale
-Xipi-wide variety of drama, rhythmicly varied and lively aria
-Erhuang-moderate tempo, tragic, lyrical, contemplative scenes with diatonic scale