Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
45 Cards in this Set
- Front
- Back
- 3rd side (hint)
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 |
|