Geography

Front 1

104) The different spatial distribution of coast redwoods and red maple trees illustrates the operation of
A) competitive exclusions B) symbiosis C) limiting factors D) management through logging

Back 1

Answer: C

Front 2

115) In nature, approximately ______ of the calories in plant matter survive from the primary to the secondary trophic (feeding, nutrition) level.
A) 30% B) 10% C) 90% D) 50%

Back 2

Answer: B

Front 3

Conjunct

Back 3

-Melody with notes occuring in small intervals
-distance between pitches
-Close together, narrow

Front 4

Disjunct

Back 4

Melody with notes occuring in large intervals
-Wide

Front 5

Dissonant

Back 5

Tone that does not sound pleasing

Front 6

Consonant

Back 6

Tone that sounds pleasing

Front 7

Dissononat

Back 7

tone that does not sound pleasing

Front 8

Modulation

Back 8

A change in the tonal center
-Never used in ICM-Raga

Front 9

Scale

Back 9

Wat to understand pitches
- a collection of pitches

Front 10

Pitch

Back 10

Being in tune
-Music term for frequency

Front 11

Timbre

Back 11

specific tone color of a musical sound (quality)

Front 12

Chord

Back 12

similar to harmony

Front 13

What is pitch bending? Which cultures employ it as a standard feature of their music?

Back 13

- The intermediate sound between pitches "stretching the sound"
- Used in japanese tradiontal music, ICM

Front 14

What is the "core melody" in a balinese gamelan piece?

Back 14

- Found in the mid range mettallophones - is the genesis of all other melodic parts.

Front 15

What is raga?

Back 15

-collection of pitches but beyond the idea of scales
-every raga has rules as to how the pitches are actaully used in performance
- ever raga has a certain "extramusical assotition, like time of the day, season, or emotions
- ONLY ONE RAGA IS USED FOR EACH PIECE OF MUSIC (ICM, never modulated)

Front 16

What is a tonic note or tonal center?

Back 16

-the pitch that has the greatest stability or least tension

Front 17

Interval

Back 17

distance between pitches

Front 18

Meter/timecyle

Back 18

a cycle of beats

Front 19

Beat

Back 19

underlying pulse- not always explicitly given in a piece of music
-not given in icm, japenese

Front 20

Hocket

Back 20

Interlocking melodies- by themselves not siginificant- together make melody
-Splitting melodies by splitting on melody

Front 21

Syncopation

Back 21

Rhythms not line up with the beat

Front 22

Polymeter

Back 22

two different meters happening at the same time
-reciever

Front 23

Polyrhythm

Back 23

two unrealted rhythms happening simultaneously
-Reciever

Front 24

Monophony

Back 24

one line of music - number of performers doesnt matter
-texture

Front 25

Polyphony

Back 25

Multiple, independent lines of music all equally contribute
-texture

Front 26

Heterophony

Back 26

twolines-act like a chase scene- often used in icm

Front 27

Define the phrase "keeping time."

Back 27

-timekeeping- keep the beat

Front 28

What instrument is used for time keeping in west african music?

Back 28

Bell is frequently used to hold an ostinato pattern through the pice

Front 29

What instrument is used for time keepin in gamelan music?

Back 29

gogns are used to dive the various beats of the cycle

Front 30

What instrument is used for time keeping in salsa music?

Back 30

uses claves (sticks) or metal shell drums (timbales)

Front 31

Define "free rhythm." In what types of of music do we encounter free rhythm?

Back 31

- no regular pulse or beat
- occues in tradional japense music, ICM

Front 32

What is Kotekan, and how/why is it used?

Back 32

-Kotekan- hocket technique used in gamelan music- includes interlocking parts (one part on beat, one part off beat)
-used to elaborate on the melody

Front 33

Kriti

Back 33

devotional song- not performbed by itself but is used as a basis, or core for developing numerous improvisions- perforamnce of kriti may last very long
- instrumental
- set to only one raga, so must know how to improve

Front 34

Guru

Back 34

one that teaches the sisya

Front 35

Sisya

Back 35

disciple/studen of the guru

Front 36

Tabla

Back 36

pair of drums- only placed in North India

Front 37

Tala

Back 37

Indian term for meter- ONLY ONE used for a given piece of music

Front 38

Gamakas

Back 38

Melodic ornamentation used in ICM

Front 39

Alapana

Back 39

common style of improvisation- used by meolodic performers only ( no percussiong)- always before the presention of the kriti- free rhythm
- drone, melody

Front 40

Bollywood

Back 40

India's Film industry- much of indian popular music comes from musicals/filsm

Front 41

What is the function of the drone in ICM?
Does the precense of the drone really creat harmony in this type of music?

Back 41

- Drone is the constant sounding of the tonal center.-the presence of the drone can help recognize consonance/dissonance between melody/drone
- no harmony

Front 42

Describe the guru-sisya sytstem

Back 42

-Very formal- gurus very selective with students- reflects the entire lineaoge of teacing- student becomes disciple only after a period of years (2)

Front 43

How is kriti normally performed?

Back 43

-devotional song- often instrumentally- not performed by itself but is used as a basis, or core, for developing numerous improvisation- performance of kriti may last very long (due to improv)

Front 44

What role does improvisation play in ICM?

Back 44

- used to embellish kritis- often use alapana (exposition of the raga) to showcase the raga itself and show ability and knowledge of performer

Front 45

Pan

Back 45

Steel drums (idiophones) invented in Trinidad

Front 46

Panorama

Back 46

Annual steel band competition- only trinidad bands compete- judged on arrangement, general perforance, tone, and rhythm

Front 47

Lord Kitchener

Back 47

Most prominent calypso performer- sings about partying and lewd subjects

-career spanned over 60 yrs

Front 48

Soca

Back 48

"soul calypso"- almost strictly part music- meant for dancing- often electronically generated msuic- driving bass- fast uses drumset

Front 49

Calypso

Back 49

Verbal expression- texts very important- talk about human condition
-from trinidad

Front 50

Tamboo Bamboo

Back 50

early step towards pans- used bamboo sticks as percussion
-"bamboo drum"

Front 51

What are the developments that led to the modernization of steel drum instruments?

Back 51

-Used wrapped sticks with soft material prduce less harsh tone
- created concave playing surface (bowl like)
- fully chromatic - use of 12 pitches in recognized western music
-

Front 52

Describe how a panorama arrangement is created and performed

Back 52

- only Trinidad bands- select a popular tune (calypso) to arrange, peform
- the arranger arranges the tuen and teaches it to the band
- play in front of judges

Front 53

What role if any, did/do calypsonians play in society?

Back 53

Perform at panorama, they set up tents for people to listen, there were commerical recordings of the music

Front 54

Clave

Back 54

pair of rosewood sticks- often used as timekeepers- can also refer to a rhythm

Front 55

Mambo

Back 55

Fast to moderate tempo- based on clave rhythm (2,3 or 3,2)
- features both vocal and instrumental improv
- no guitar, cowbells, congas, etc more common

Front 56

Bolero

Back 56

Slow temp- low/high/low pattern on conga drums- not based on clave rhythm- never uses drumset

Front 57

Cha Cha

Back 57

Medium tempo- 4 beat cycle- features guiro- never too fast -dance music

Front 58

Timbales

Back 58

metal shell drums played with sticks- keep time on metal shell, also use cowbells and cymbals
-2 is the norm, although using more than 2 is possible

Front 59

Congas

Back 59

Wood shell drums played with hands

Front 60

Samba

Back 60

Street samba- roots in drumming and singing- likely to have guitar strum- meant for dancing

Front 61

Guiro

Back 61

scared idiophone- used in cha cha

Front 62

Reggae

Back 62

Bouncy feel, offbeats in rhythm section, melodic bass lines

Front 63

Mento

Back 63

precursor of reggae- "jamaican calypso"- contributed bouncy feel
- uses banjo

Front 64

Ska

Back 64

offbetas in rhythm secion- key to raggae- often instrumental only- fast temp, horns

Front 65

Rock steady

Back 65

reaction to ska - slow down tempo- melodic bass lines- return to lyricism

Front 66

Bongos

Back 66

Slow-night club music

Front 67

Define clave dicuss its role in salsa music styles

Back 67

-3-2 or 2-3 rhythm - dictates every other instrument

Front 68

How do you tell the styles of mambo, bolera and cha cha apart?

Back 68

Mambo- moderate to ver fast- features coval

Bolero- slow, low.high/low" on congas- never use drumset

Cha Cha- medium tempo - features the guiro, dance music

Front 69

What instruments are found in the rhythm section of a salsa band?

In a rhythm section instruments have basically two roles or jobs- what are they?

Back 69

rhythm section- piano, bass, guita, percussion (sometimes drumset)

- role provides heat, keeps tune, provides harmony

Front 70

Can you trace the evolution of jamaican popular music in the 20th century?

Back 70

Mento(1950s)- used bouncy feel

Ska (50s-60s) - influence from US- R&B feel- offbetats in rhytym section- fast tempo- often instrumental

Rock Steady (late 60s)- reaction to ska- slowed down, lysicism, melodic bass line carry to raggae

Front 71

Mettalophone

Back 71

metal keyboard- prefferred metal is bronze

Front 72

Kotekan

Back 72

hocket technique- one part on beat, one part off, used to elaborate melody

Front 73

Gong Cycle

Back 73

Divide the various beats of teh cycle maong the different size gongs

Front 74

Gamelan

Back 74

Generic term for musical ensemble- found on java and bali

Front 75

Describe why metallophones are tuned in pairs. What effect does this produce?

Back 75

- One of the pairs is purposefully "de-tuned" so each pair is slightly out of tune
- creates a "shimmer" effect throughout the ensemble

Front 76

Indentify the five layers of musical activity in balinese gamelan music:

Back 76

1. Drums- lead or condcut- give signals or cues

2. gongs- mark the time cycle by dividing various beats of cycle among different sized gongs

3. High Mettalophones- elaborate the melody often with kotekan

4. Mid " "- core or skeletal melody- genesis for all melodic parts

5. Low " "- slow moving support meolodies (based on core melody)

Front 77

How is gamelan music taught and leanred

Back 77

rote learning- formal- observing and imitating

Front 78

Jeli

Back 78

part of the nyamalo class- "shaper of sound"- must be born into family- specialize in one of 3 areas (speech, song, instrument)

Front 79

Master Drummer

Back 79

Leader of Agbekor- dance drumming- director of group- gives oral cues- improvises if required

Front 80

Amadinda

Back 80

East african xylophone- loose key- multiple players- bars struck on edges with wood sticks

Front 81

Define the term sub-saharan afric" and tell why wuch a term is necessary in discussing the music of africa

Back 81

all regions south of the Sahara desert
- cultures within Sub-Saharan africa are distinct from those in the northern part of the continent (more like middle east)

- N. Africa culturally has more in common with middle east

Front 82

Identify and describe the four funtions that instruments serve in a piece of West African dance-drumming (agbekor)

Back 82

Timekeeper- ostinato pattern throughout piece- use bell often- never improvises

Emphasis of time keeper- use rattle

Supporting Drum- play ostinato- can change rhythm/repeat

Lead drum- director give cues, improvises if required

Front 83

Breifly dicuss music in Pygmy culture, and explain how their environment and social structure impacts their music making

Back 83

-Nomadic life style- small, simple instruments, vocal music most important
- egalitarian society- emphasis on group performance
- music unspecialized

Front 84

What are some of the features of african tradional music

Back 84

-prefer a high "noise to pitch" ratio
Features syncopation, polyrhythm, ostinatos
- Percussion used for tiem keeping/structural purposes

Front 85

Ma

Back 85

an absence of beat- silence or space that adds drama

Front 86

Isin Densin

Back 86

"worldess communication" within performers

like eye contact.... important becaue it leaves some decisions until onstage playing

Front 87

Enka

Back 87

Sung by middle aged people- melodramatic sappy songs about lost love or mundane life issues
- songs about issues people that age deal with

Front 88

Kouta

Back 88

Short song created by female composers- use shamisen to accompany

Front 89

Shamisen

Back 89

Wodden sound box- fretless neck allows fore easy pitch bedning- three strings- buzzing timbres

Front 90

Shakuhachi

Back 90

end blown flute made of bamboo, orginally played by wondering monks

Front 91

Tayu

Back 91

narrotor for banraku theaer- provides voice for each cahracter- performs from a book

Front 92

Karaoke

Back 92

significant in japan- group dynamics reinforced- used as an icebreaker, stress reliever

Front 93

Describe the music of banraku theater

Back 93

Japanese puppetery
- provided by 3 person team- shamisen- 3 styles of vocal delivery- singing, speaking and half of each
- seated of right of stage

Front 94

What are the characteristics of japanese traditional music?

How does this music sound compared to western music?

Back 94

- variety of timbres- unpitched sounds often used (nature sounds)
- no standard tuning system- employs pitch bending
-no hamorny- free ryhthm- use of ma

Front 95

What impact does karaoke have on japanese society?

Back 95

-use personal karaoke machines- used as ice breaker and stress reliever

Front 96

Ethnomusicology

Back 96

study of non-western music, compartive studies relationship of music to culture

Front 97

Hornsbostel-Sachs instrument classifcations:

Aerophones

Back 97

any instument that features a vibrating column of air
-trumpet, organ

Front 98

Hornsbostel-Sachs instrument classifcations:

chorodphones

Back 98

instrmnets that feature vibrating strings
-piano

Front 99

Hornsbostel-Sachs instrument classifcations:

Membranophones

Back 99

Instruments in which a streched membrane that vibrates
-drums

Front 100

Idiophones

Back 100

Instruments in which teh body of the instrument itself vibrates (self sounding instruments)
- wood blocks, bells, steel pan

Front 101

Seven Music Universals

Back 101

1. Has vocal music (singing)

2. Employs musical instruments in some way

3. Uses music in ritual or scared events

4. Seperates musical pieces, or selections

5. has some organization of tones or pitches

6. uses music as a way to experience transcendent mood (goosebumps)

7. uses music to reinforce social groups/boundaries/organization

Front 102

Describe situations where the context of a performance imposes a limition on who may perform (men/women,old/young,pro/amatuer)

Back 102

-japanese kouta- women only

-Indian raga, Bunraku theater- only trained pros

Jeli- must be born iinto family

-guru-sisya

-conservatories

Front 103

What does non-western mean?

Back 103

-western= music stemming from western europe culture

- non western= all other music- may be clasical

Front 104

What is fieldwork, and why is it a cornerstone of the dsicpline

Back 104

- immersing yourself in the people/culture for an extended period of time to gain extensive knowledge
- try to gain insiders point of view
-essential credibility
- must have at least 1 year

Front 105

Describe rote learning. Identify as many situations when it is employed

Back 105

- observing and imitating to learn- formal- clear who is teaching/learning
-May be in group setting (panorama)
-guru-sisya
-Gamelan-Idonesia
-Essential for credibility

Front 106

What is enculturation? What type of music did we discuss that is learned in this manner?

Back 106

Learning through slow absorption without formal teaching
-African music

Front 107

What are the advantages of learning and performing with notation? Are there any disadvantages to notation?

Back 107

-Preserves music, makes sharing learning easy
- No flexibility (cant change it_, can easily be interprted wrong

Front 108

How do the following entities exert control over the dissemination of music (repertoire, technique, other)?

Back 108

Gurus- guru accepts sisya only after period of years, student not only reflects themselves but also the entire lineage of teaching

- jeli: Must be boring into certain family, string intermarriage, first learn from family memebr than master teacher comes later, exposure to all 3 areas at first then specilize to formal one one student relationship

- Japanese iemoto guilds: certain families control the arts, each musical style or instrument had a guild- preserves integrity of art form- control dissemination and qulity

- Western Conservatories: all collections of old classical music. controls dissemnation because may not allow any new music, dedicated to the preservation and itergrity of their chosen art

Front 109

Describe the music of banraku theater

Back 109

Japanese puppetery
- provided by 3 person team- shamisen- 3 styles of vocal delivery- singing, speaking and half of each
- seated of right of stage

Front 110

What are the characteristics of japanese traditional music?

How does this music sound compared to western music?

Back 110

- variety of timbres- unpitched sounds often used (nature sounds)
- no standard tuning system- employs pitch bending
-no hamorny- free ryhthm- use of ma

Front 111

What impact does karaoke have on japanese society?

Back 111

-use personal karaoke machines- used as ice breaker and stress reliever

Front 112

Ethnomusicology

Back 112

study of non-western music, compartive studies relationship of music to culture

Front 113

Hornsbostel-Sachs instrument classifcations:

Aerophones

Back 113

any instument that features a vibrating column of air
-trumpet, organ

Front 114

Hornsbostel-Sachs instrument classifcations:

chorodphones

Back 114

instrmnets that feature vibrating strings
-piano

Front 115

Hornsbostel-Sachs instrument classifcations:

Membranophones

Back 115

Instruments in which a streched membrane that vibrates
-drums

Front 116

Idiophones

Back 116

Instruments in which teh body of the instrument itself vibrates (self sounding instruments)
- wood blocks, bells, steel pan

Front 117

Seven Music Universals

Back 117

1. Has vocal music (singing)

2. Employs musical instruments in some way

3. Uses music in ritual or scared events

4. Seperates musical pieces, or selections

5. has some organization of tones or pitches

6. uses music as a way to experience transcendent mood (goosebumps)

7. uses music to reinforce social groups/boundaries/organization

Front 118

Describe situations where the context of a performance imposes a limition on who may perform (men/women,old/young,pro/amatuer)

Back 118

-japanese kouta- women only

-Indian raga, Bunraku theater- only trained pros

Jeli- must be born iinto family

-guru-sisya

-conservatories

Front 119

What does non-western mean?

Back 119

-western= music stemming from western europe culture

- non western= all other music- may be clasical

Front 120

What is fieldwork, and why is it a cornerstone of the dsicpline

Back 120

- immersing yourself in the people/culture for an extended period of time to gain extensive knowledge
- try to gain insiders point of view
-essential credibility
- must have at least 1 year

Front 121

Describe rote learning. Identify as many situations when it is employed

Back 121

- observing and imitating to learn- formal- clear who is teaching/learning
-May be in group setting (panorama)
-guru-sisya
-Gamelan-Idonesia
-Essential for credibility

Front 122

What is enculturation? What type of music did we discuss that is learned in this manner?

Back 122

Learning through slow absorption without formal teaching
-African music

Front 123

What are the advantages of learning and performing with notation? Are there any disadvantages to notation?

Back 123

-Preserves music, makes sharing learning easy
- No flexibility (cant change it_, can easily be interprted wrong