Gmus 203 Exam I

Front 1

Culture

Back 1

infant adaptation to srroundings

Front 2

Enculturation

Back 2

Combination of cultures

Front 3

Acculturation

Back 3

taking things from environment and gradually making them part of oneself

Front 4

Appropriation

Back 4

When one culture takes a tradition from another culture

Front 5

Eurocentric

Back 5

looking at another culture from your culture's view

Front 6

Intra-cultural exchange

Back 6

exchanging ideas within same culture

Front 7

Inter-cultural exchange

Back 7

sharing ideas with different cultures

Front 8

Intra-cultural exchange

Back 8

Sharing ideas within the same culture

Front 9

Organology

Back 9

study of instruments

Front 10

Aerophones

Back 10

saxophone, flute, clarinet

Front 11

Chordophones

Back 11

Strings

Front 12

Membranophones

Back 12

drums

Front 13

Idiophones

Back 13

vibrations created by bidy

Front 14

Electronophones

Back 14

vibrations passed through loudspeaker

Front 15

Frequency

Back 15

pitch

Front 16

Amplitude

Back 16

volume

Front 17

Spectrum

Back 17

timbre

Front 18

Rhythm

Back 18

series of events we hear, relationship in time

Front 19

Meter

Back 19

repeating pattern

Front 20

Rubato

Back 20

lack of meter

free rhythm

usually part of intro

Front 21

Melody

Back 21

lead voice or instrument

Front 22

Scale

Back 22

series of notes

culture dependent

Front 23

Ornamentation

Back 23

decoraded notes

Front 24

Syllabic

Back 24

separate note for every syllable

Front 25

Mellismatic

Back 25

singing 2 or more notes for every syllable

Front 26

Harmony

Back 26

richness of sound chord

Front 27

Texture

Back 27

how lines relate to each other

Front 28

Monophony

Back 28

single line, voice, playing exact same melody

Front 29

Heterophony

Back 29

2 or more individuals performing same melody, different interpretations

Front 30

Polyphony

Back 30

2 or more completely different melodies that interlock to produce greater sound

Front 31

Form

Back 31

Arrangement of sound

How it starts or ends

Front 32

Eurocentric bias

Back 32

bias from Eurocentric culture

Front 33

Role of music in Native american culture

Back 33

link to spiritual world

Spiritual power

Front 34

Efficacy

Back 34

religious function carry out duty

Front 35

Musical characteristics of Native American Music

Back 35

short repitition, no direct meaning, specific vacables, partition, pentatonic scales 2-6 melodies

Front 36

Musical instruments of Native American Culture

Back 36

Drums, rattles, flutes

Front 37

Oral Culture

Back 37

things retained by memory and spread by word of mouth

Front 38

Plains Indian Style

Back 38

intertribal, pow wow, fancy dance, honor beats

Front 39

Southwestern Indian Style

Back 39

double headed drum, long short beat: de-dum, leaps to higher pitch, more angular

Front 40

Northwest Pacific indian Style

Back 40

angulating melodies, darker rounder sound, often associated with potlatch exchanging gifts songs

performance=heirarchy

Front 41

Trail of Tears

Back 41

Forced movement of all indian that had nothing in common from east Oklahoma to Florida

Front 42

Ghost Dance

Back 42

awakening of the dead and return to traditional ways

Front 43

Peyote Cult

Back 43

Native American Church

Front 44

Plainsong

Back 44

heterophonic

limited songs

Front 45

Psalm book

Back 45

collection of Hymns

Front 46

Bay Psalm Book

Back 46

first Psalm book in US

Front 47

Psalm Meter

Back 47

common, long, and short

Front 48

Praise

Back 48

rural working class

Front 49

Edification

Back 49

uplift, trained quires, separation, pleases senses

New England/Urban areas

Front 50

Lining out

Back 50

Praise

Preacher sings, Congregation repeats

Front 51

Singing schools

Back 51

masters in New England

teaching singing lessons, voice production, more challenging music to sing

Front 52

William Billings

Back 52

Self-taught singer and sing teacher

New England Psalm Singer: presales

Front 53

Shape Notes

Back 53

notes with different shapes

diamond, square, triangle

Front 54

Sacred Harp

Back 54

emphasis on performance, clean sound, higher power

Front 55

Lowell Mason

Back 55

pioneer

established 1st music education program

Front 56

Lowell Mason teaching system

Back 56

Teach children to sing before reading music

Master one thin, then can move on to the next

Learn with experience

Front 57

Slave Trade

Back 57

worldwide activity, although most came to new world

Slaves stripped of material culture

Front 58

African American Music traits

Back 58

sing through all activities

Front 59

Call & Response

Back 59

leader and chorus

Front 60

Polyrhythms

Back 60

Use of two or more rhythms

Front 61

African American vocal style

Back 61

rough, nasal bends

Front 62

The Great awakenings

Back 62

outdoor religious gatherings, rural areas, gathering of both clack and white class citizens

Front 63

Richard Allen

Back 63

episcopal AA institution

African Methodist Episcopal Church

Wandering refrains

Front 64

Wandering refrains

Back 64

2 line phrase inserted into any song to extend song

Front 65

Ballads

Back 65

narrative songs

war, death, love, satire

Front 66

Stanza

Back 66

4-5 lines

Front 67

Strophic text

Back 67

repeating but different lyrics

Front 68

Imported Ballad

Back 68

came from British Isles

Front 69

Naturalized

Back 69

text changed to reflect more lacal

Front 70

Native

Back 70

newly composed ballads in US

Front 71

Broadside Ballad

Back 71

common drug in revolutionary war

used for propoganda or satire

Front 72

Murder Ballads

Back 72

involved earth trio of events

Front 73

Fancis James Child

Back 73

collected ballads

Front 74

Child Ballads

Back 74

literary criteria

The english and scottish popular ballads

Front 75

Francis James Child

Back 75

collected ballads

Front 76

Olive Campbell

Back 76

collected music in different variations from Appalachians

Folk songs of the southern appalachians

Front 77

John ans Alan Lomax

Back 77

first folk directors

Front 78

19th century audiences

Back 78

yelling, screaming, drinking

Front 79

Minstrelsy

Back 79

most important form of music in US, complex history

Front 80

Thomas "Daddy" Rice

Back 80

black stage man

white man who applied blackface

Front 81

Blackface "blacking up"

Back 81

white people acting black

Front 82

Ethiopian melodies

Back 82

plantation songs

Front 83

Zip Coon

Back 83

Urban satire

Front 84

Jim Crow

Back 84

character that falsely portrayed black people

Front 85

Virginia Minstrels

Back 85

troop of irish americans

Front 86

Dan Emmett

Back 86

led 1st minstrel show

Front 87

Minstrel ensemble

Back 87

fiddle, banjo, tambourine, bones

Front 88

Influence on public image of African Americans

Back 88

especially in the north, some audiences didn't realize performers were white

false accusations

Front 89

Minstrel show

Back 89

set structure starting with minstrel line, acts, group number

Front 90

Interlocuter

Back 90

jokes with performers

Front 91

Olio

Back 91

special number

Front 92

Walk around final

Back 92

short act play about plantation life

Front 93

Cakewalk

Back 93

walk around dance

parody of white gatherings

Front 94

Master Juba (William Henry Lane)

Back 94

Black actors toured US throughout europe

Front 95

Georgia Minstrels

Back 95

1st all african american group

undergoing stereotypes

Front 96

James Bland

Back 96

"Carry Me Back To Old Virginny

Front 97

Legacy of Minstrels

Back 97

growing fascination

Front 98

Stephen Foster

Back 98

irish american singer, songwriter

Front 99

Parlor songs

Back 99

sentimental irish ballads

Front 100

Christy Minstrels

Back 100

Stephen foster gave all his credit to them, then took it back when he got popular

Front 101

Hutchinson Family

Back 101

against working for emancipation and slavery

Front 102

Revolutionary War bands

Back 102

small ensembles

Front 103

Fife and Drum

Back 103

single troop movements

Front 104

Harmoniemusik

Back 104

pairs of woodwinds for dinners, or formal gatherinegs

Front 105

Patrick Gilmore

Back 105

formed gilmore band

National Peace Jubilee of 1869

music has power

Front 106

John Philip Sousa

Back 106

head of US marine band

formed Sousa band, that had large repitwar

the washington post

Stars and stripes forever

Front 107

Edison phonograph

Back 107

cylinder tube that recorded music

Front 108

Gramophone

Back 108

make records and mass produced

Front 109

College marching bands

Back 109

educational, football games, parades

Front 110

Wind ensemble

Back 110

lots of written music

Front 111

African AMerica band traditions

Back 111

strong, antebellum music

Front 112

Francis Johnson

Back 112

READ STANDARD AND IMPROVISOR

written and oral tradition

Front 113

New Orleans Brass Bands

Back 113

march and improvise

Jazz roots came from here

Front 114

Vaudeville

Back 114

most popular form of theatre

Front 115

Tin Pan Alley

Back 115

played on demographic tests

Front 116

Chrales K Harris

Back 116

After the Ball

Front 117

GMUS203

Back 117

Connell