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;
114 Cards in this Set
- Front
- Back
|
Qhapac chuncho (mighty Chuncho warriors) dance — “Chunchos” of Paucartambo, Peru
Instruments? Texture? (Which -phonic and why does it qualify?) |
(Flute/drum militaryish sound) Instruments- 2 flutes, drum/snare bass Texture- Heterophonic |
|
|
Qhapac chuncho (mighty Chuncho warriors) dance — “Chunchos” of Paucartambo, Peru
Formal structure? (What kind of units? How big? How many of them? How much variety?) |
(Flute/drum militaryish sound) 2 asymetrical parts: a short A- 8+4 beats and slightly longer B 8+8 beets |
|
|
Qhapac chuncho (mighty Chuncho warriors) dance — “Chunchos” of Paucartambo, Peru
Why describe performers as (quote) Chunchos (unquote)? |
(Flute/drum militaryish sound) Jungle people of South America- hired by the mestizos- usually comprised of musicians from elsewhere. |
|
|
Dance song Despedida (Farewell) — “Qollas” of Paucartambo
Which kind of band? |
(violins, kenas, mandolin, accordion, Spanish vocal chorus) European and Indigenous blend |
|
|
Dance song Despedida (Farewell) — “Qollas” of Paucartambo
Which language(s)? |
(violins, kenas, mandolin, accordion, Spanish vocal chorus) Spanish and Quechua- Indigenous language |
|
|
Dance song Despedida (Farewell) — “Qollas” of Paucartambo
Subject of the lyrics? |
(violins, kenas, mandolin, accordion, Spanish vocal chorus) Sung to the Virgin by the Qollas- my princess, my lady |
|
|
Dance song Despedida (Farewell) — “Qollas” of Paucartambo
What makes the singing style distinctive? |
(violins, kenas, mandolin, accordion, Spanish vocal chorus) Blends European and Indigenous cultures |
|
|
Dance song Despedida (Farewell) — “Qollas” of Paucartambo
Which features (texture, melody, form, etc.) are significantly similar to those of the Chunchodance music? |
(violins, kenas, mandolin, accordion, Spanish vocal chorus) Syncopated melody, timbral quality, descending pattern, structured around repeated melody |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina” (the shepherdesswith the sandals) genre:
|
(violins-woman singing Spanish, quick high vocals/yelping) |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina”
Despite fundamental differences, how does this song’s construction resemble the festival music from Paucartambo? |
(violins-woman singing Spanish, quick high vocals/yelping) Social couples dance, flirtatious music/movements, encompasses any topic and its genre is profound feeling |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina”
What does “strophic” mean? |
(violins-woman singing Spanish, quick high vocals/yelping)
"verse repeating" |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina”
Which instruments? |
(violins-woman singing Spanish, quick high vocals/yelping)
String band, several guitars, mandolins, violins, accordions |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina”
Time period of origin? How/where did listeners hear it? |
(violins-woman singing Spanish, quick high vocals/yelping) 1950's and 1960's |
|
|
What different happens in the fuga?
|
(=”flight”/“escape”; not a fugue like Bach wrote)
Once reaches fuga, the length of phrases changes yet again- means to chase since each voice chases the other |
|
|
Quisiera olvidarte (I want to forget you) — Maria Alvarado “La pastorita huaracina”
How is its texture fundamentally different? (harmony) From which cultural ancestry? |
(violins-woman singing Spanish, quick high vocals/yelping) Closest to indigenous roots of all the major Peruvian mestizo genres |
|
|
El gustito (Delight) — Los caporales de Pánuco (the corporals from Pánuco) — genre:
|
son huasteco
|
|
|
El gustito (Delight) — Los caporales de Pánuco (the corporals from Pánuco)
Which -phonic texture? |
heterophonic texture |
|
|
El gustito (Delight) — Los caporales de Pánuco (the corporals from Pánuco)
Describe the organizational plan that harmony (chords) imposes on this music. |
Sesquilltera is created by the 3/4 triple and 6/8 duple meters present at the same time. The interlude mirrors in many respects the 1st interlude violin plays over accompaniment of guitars |
|
|
El gustito (Delight) — Los caporales de Pánuco (the corporals from Pánuco)
Does the music end on the chord you expected? |
no it plays a improvise section that descends |
|
|
El gustito (Delight) — Los caporales de Pánuco (the corporals from Pánuco)
What is the role of the jarana? The huarapanguera? The violin? (2 roles) |
jarana- smaller guitar - percussion- maintains basic strumming pattern with an accented down and double upstroke pattern huarapanguera- guitarra quinta- plays bass line violin- The lead or center of ensemble and improvissions; violin powerful syncopated rhythmic bowing, slides, and other ordaments- double stops |
|
|
Manuelita ([woman’s name]) — Sikuris centro social Conima (siku players of the Conima social center)
|
(lots of overlapping flutes and slow drum)
Aymara music |
|
|
Manuelita ([woman’s name]) — Sikuris centro social Conima (siku players of the Conima social center)
How many players? |
(lots of overlapping flutes and slow drum) 24 Sikus (panpipes) 6 sizes 2 drums |
|
|
Manuelita ([woman’s name]) — Sikuris centro social Conima (siku players of the Conima social center)
Formal outline? |
(lots of overlapping flutes and slow drum) Dense texture due to overlapping and blending of instruments |
|
|
Manuelita ([woman’s name]) — Sikuris centro social Conima (siku players of the Conima social center)
Notice the prominent syncopation in each melodic phrase. Define syncopation. |
(lots of overlapping flutes and slow drum) Variety of rhythms which are in someway unexpected making the tone or piece of music off beat |
|
|
Manuelita ([woman’s name]) — Sikuris centro social Conima (siku players of the Conima social center)
Which other music from this chapter does this resemble most? In what ways? |
(lots of overlapping flutes and slow drum) The Chunchos of Paucartambo |
|
|
Currulao bambuco — anonymous singers and players, Buenaventura, Colombia
Describe the African musical features present: texture, organization, sound quality, etc. |
(African sounding - shakers, yodeling) Interlocking duple and triple rhythms vocals organized in leader-chorus call and response patterns ostinatos (repeating verses) yodeling and other vocal sounds |
|
|
mestizo
|
blend of European and Amerindian beliefs and cultural practices- accurately denotes the variable incorporation of Spanish and Portuguese and indigenous cultures |
|
|
Paucartambo festival: Who participates? What religious purpose? What do the various characters and activities signify?
|
The event reflects the complex combinations of indigenous and European heritages and worldviews that are the hallmark of mestizo culture. Paucartambo's three day Fiesta de la Virgen del Carmen. The festival celebrates the Catholic saint, fused with that of Pachamama, an indigenous divinity. |
|
|
Chuncho: Modeled on whom? Role in festival?
|
Heroes- disciplined martial dance; rich and powerful honor guard that protects the statue |
|
|
Qolla: Modeled on whom? Role in festival?
|
uncivilized outsiders, traders of the high plateau of Southern Perue; "savages"; upsetting things as they go; unruly manner and trying to steal the statue |
|
|
Saqras (devils): Role in festival?
|
representing the colonial Spanish/animal monkey masks; foils the holy saint; climb on red tiled roofs/shield eyes ridding of evil |
|
|
other Fiesta characters: Modeled on whom, in general? Why?
|
Doctors(lawyers and government officals) Negros (black slaves) Chunk'chus (malaria carriers) Majenos (liqueur traders) Maqtas (clowns/police) Express what they are and important history that's important to their culture |
|
|
contra dance: Place of origin?
|
Partnered line dance facing 2 lines France |
|
|
three kinds of bands in festival: Name them?
|
Euopean and Indegenous style flutes and drum bands Brass bands-accompany the Majeños dancers, processions, and sometimes other dance groups Dance bands (orquesta tipica) |
|
|
Orquesta típica definition
|
a mix ensemble of European instruments and indigenous Andean flutes |
|
|
Which band plays forChunchos?
|
Euopean and Indegenous style flutes and drum bands |
|
|
predominant kinds of string instruments in Latin America: Which main kinds? How standard/localized?
|
Violins, guitars, harp, mandolin Latin America has more unique variants of guitars than any other region Old Type- harp and violin (European) Strings did not exist in pre-Colombian central and south america |
|
|
sesquialtera (hemiola): It’s a rhythmic gesture; it consists of duple vs. triple cross rhythms.
|
Combination or juxtaposition of duple and triple rhythmic patters both simultaneously in different instrumental parts or sequentially in same part. |
|
|
wayno/huayno: Music for what purpose? Status in this culture?
|
Most important Mestizo genre in Peru, For social or private music making. Alternates between eighth note triplet feel in a predominantly duple meter, Strophic form. Social couples dance, Combination of Spanish and local language |
|
|
son (plural: sones):
How important? Different styles of son correspond to? (Social class? geographicregion? Euro vs. native vs. African influence? Or what?) Overall form of the son? |
Most important to Mexico Son combines the structure and elements of Spanish canción and the Spanish guitar with African rhythms and percussion instruments of Bantu origin. Strophic song usually on romantic themes Social gatherings to express deep feelings |
|
|
jarocho
characteristic instrumentation |
(Southern Veraccuse region) Large harp & 4 string requinto and 8 stringsjaranas guitars |
|
|
huasteco,
characteristic instrumentation |
(Northern Veraccuse region) Violin, Guitar- Huapanguera (bass) and Jarana (percussion) |
|
|
jalisco-mariachi
characteristic instrumentation |
2 or more violins: vihuela; guitarron, two trumpets (brass) and various guitars and accordion |
|
|
norteño
characteristicinstrumentation |
(Northern Mexico, southern TX) 3 row button accordion, bajo sexto (12 string guitar), bass and drums |
|
|
mariachi music:
Origin? Place in modern Mexican culture? What caused the change in status? Level of professionalism? |
Ensemble that consists of guitarrón, vihuela, guitar, violins and trumpets. It is Mexico's most famous ensemble. Performs ranchera, son de mariachi, huapango de mariachi, polka, corrido, and other musical forms. Originated in the southern part of the state of Jalisco during the 19th century. Mexican Revolution- greater interest in rural music with urban higher class circles Mariachi is often heard in the cafés and streets of Veracruz. |
|
|
charro: What?
How connected to mariachi music? |
Mexican cowboy- derived from Spanish horsemen who came from Salamanca and settled in Jalisco. Jalisco is known as the "Capital" of the mariachi. The style is now popular throughout Mexico and the Southwestern United States, and is considered representative of Mexican music and culture. |
|
|
huarapanguera
|
Huarapanguera: Takes on the role of the bass instrument using a rhythmic strumming technique.
|
|
|
jarana
|
Jarana: Takes the role of a percussion instrument in the way it is played, with an accented down and double upstroke pattern. |
|
|
What is a corrido?
|
popular narrative song and poetry form of Mexico. traditional folk music from northern Mexico, from which other several genres have evolved. Main informational and educational outlet |
|
|
How does the narcocorrido continue the genre’s tradition?Besides the subject, how is the one corrido we heard (video) modernized musically?
|
Music critics have compared narcocorrido music to gangster rap. Narcocorrido lyrics refer to particular events and include real dates and places. The lyrics tend to speak approvingly of illegal activities such as murder, torture, racketeering, extortion, drug smuggling, illegal immigration, and sometimes political protest due to government corruption.
|
|
|
How are cultural and community values reflected in music of the Aymara?
|
The way they make their music emerges through their principles of collective social life. Only sing when together; play as one |
|
|
When and where do the Aymara of Huancané play music?
|
They generally play music only in large community wind ensembles for these public communal festivals; even practicing music by oneself is rare. |
|
|
panpipe: What is it? How does the method of playing the siku specifically reflect community values?
|
Are typically made from bamboo shoots (side blown vertical flutes), but have been made from condor feathers, bone, etc. Different types of bamboo are employed to change the quality of the sound. People assemble into groups to collective play them. Each community develops own type with own special tuning, shape and size. represent groups |
|
|
hocket: What is it? In what assigned listening, from a totally different culture, have we heard hocket as an essential feature?
|
rhythmic linear technique using the alternation of notes, pitches, or chords. Interlocking pitches between 2 or more sound sources to create single melody or part Essential in African music |
|
|
Lowland: the Suyá (and Kayamurá)
|
Believes songs come from and are learned from animals, plants, insects, fish- symbolic importance to ecological environment Suyá (and Kayamurá)Lowland Amazonian musical culture. Predominantly vocal, sometimes accompanied by rattles. Collective participation reflects unity of the village. |
|
|
What is the main source of musical sound for the lowand
|
Vocals Some songs are individually owned and sung individuality in music more acceptable than the Aymara. Performances where individuals sing different songs simultaneously, individuals act as one, but each is independent.
Collective participation reflects unity of the village. |
|
|
How is Suyá music related to nature?
|
believe song came from nature, festivals and song types reflect this belief. Gender and age define social categories, musical genres and singing styles reflect this.
|
|
|
When and where is music typically used in lowland
|
Festivals- status in village; different according to gender and age; dance central aspect of musical festival |
|
|
Neighboring Kamayurá people: see videos with vocalization, giant flutes, shaman chants.
|
Music is language between humans and spiritual world; People chant, pair up, man run with long flutes, woman run behind them; Social event |
|
|
Curralao: What is it?
|
Afro-Colombian, Afro-Ecuadorian dance context in the Pacific Coast region in which marimba is featured. |
|
|
What is a marimba? What is its main role in curralao?
|
20-28 wooden keys with bamboo resonators, played by two musicians.- gives harmonic and rhythmic support A community dance in which women and men may meet and form new relationships. |
|
|
What African features does curralao music exhibit?
|
call and response percussion baptism drums interlocking poly rhythm cyclic form dense overlapping texture |
|
|
Compare currulao with mbira music, with Cuban rumba guaguancó.
|
Two deeper double-headed drums and bamboo shakers, which add to the rhythmic timbral density. |
|
|
Candomblé (also umbanda): What is it? What elements of Yoruba (African) religions does it incorporate? Christian elements?
|
Dance for Gods Enslaved African priests teach mythology, culture and beliefs, Orisha controls each persons destiny; Dance enables worshipers to become possessed by their Orisha Witchcraft/ convert slaves to Catholic church- submissive in their status |
|
|
Samba: Which city is most often associated with samba?
|
Syncretic mix created when Afro-Brazilians from the northeast migrated to big cities. roots in Africa via the west African slave trade and African religious traditions musical expression of urban Rio de Janeiro symbol of Brazil |
|
|
favela: What is it? Why are favelas important to samba?
|
A favela is a brazilian slum. They are important to samba because these communities are in the scene of the brazilian black culture that influenced samba. |
|
|
batucada: What is its most distinctive musical feature compared with other samba types?
|
Batucada is a substyle of Samba. It is different from other Samba styles because it is heavily percussion based, percussion the core of Samba in general. |
|
|
What is a samba “school”? What is the goal of a samba school?
|
It is a club or dancing school in which people practice very often and perform in huge square compounds devoted to Samba. The goal of samba school is to promote cultural herritage since the samba schools have a strong community basis |
|
|
Carmen Miranda:
When was she active? What was her connection — racially and as a performer — toAfro-Brazilian music? How was she received outside Brazil? By many Brazilians? |
1928- 1955. She was Portuguese and was recognized as Brazil's first national pop icon in Brazil's history. In Brazil she began to lose popularity and was criticized for portraying Brazil in a negative light. She was well liked outside of Brazil, especially the United States. |
|
|
bossa nova:
-When was it in style? -What are its stylistic roots? -What was the social background of bossanova musicians vs. samba musicians? -What role did bossa nova play in Brazilian music and culture? |
Late 1950s- 1960s. Samba and Jazz. Samba musicians incorporated rhythmic patterns and feel originating in former African slave communities. Bossa Nova musicians lyrical themes found in bossa nova include women, love, longing, homesickness, nature, and the best of youth. Bossa Nova was introduced to the rest of the world through American Jazz. It helped further develop this fusion of jazz harmonies and a smoother, often slower, samba beat.
|
|
|
tropicalia: When did it arise? Why was it created?
|
Tropicalia arose in the late 1960s. It was created in response to the political repression going on in Brazil at the time. |
|
|
What is MPB? What sorts of musical styles did it adopt? What was its social and political importance?
|
Musical Popular Brasileira- Is a trend in post bossva nova urban popular music in Brazil. Samba, samba-cancao and baio and other Brazilian regional music, combining those with foreign influences, such as from jazz and rock. It was an attempt to crates "national" brazilian music that incorporated traditional styles. The earliest MPB borrowed elements of the bossa nova and often relied on thinly-veiled criticism of social injustice and governmental repression. |
|
|
Orfeu negro:
What ancient story? In what modern situation? What is significant about where the actorscome from? What is significant about where the director, producers, etc. came from? What issignificant about the choice of songwriter and composers? |
-The Orpheus and Eurydice myth of ancient Greece is set against the colorful backdrop of Rio de Janeiro's Carnival -Orfeo is a trolley car conductor engaged to the fiery and demanding Mira. However, when Orfeo meets beautiful country girl Eurydice, he is captivated by her gentle sweetness and falls instantly in love. Before they can be together, Orfeo must deal with his fiance's vengeful jealousy as Eurydice tries to escape a mysterious man dressed as "Death" who wants to kill her. When things take a tragic turn, Orfeo must embark on a mystical journey to the underworld. -All were non-professional Brazilians. The one exception was Marpessa Dawn, who played Eurydice. She was an American dancer from Pittsburgh. - French director, therefore there was a disconnection between actually understanding Brazil. - Brazilian composers were used and their soundtracks have become bossa nova classics |
|
|
Exoticism: What is it?
|
Rhythms, melodies, or instrumentation designed to evoke the atmosphere of far off lands or ancient times trend in European art and design, influenced by some ethnic groups or civilizations from the late 19th-century. |
|
|
In what ways did Orfeu negro and Carmen Miranda achieve similar far-reaching things?
|
Orfeu Negro and Carmen Miranda both were attempts of the United State's "good neighbor" policy in order to prevent the Western Hemisphere from any influence from the rivals during WWII. |
|
|
How did Brazilian artists and critics respond to Orfeu negro?In what ways does Orfeu (1999) take adifferent approach?
|
Brazilian critics thought that Orfeu Negro was over exaggerated and misrepresented that actual social issues that were going on in Brazil at the time. Portrayed Brazil as this sunny optimistic world when in reality it was not. Orfeu (1999) was taken much better by the brazilian public than Orfeu Negro.
|
|
|
Which of the following is the term for both a people and a social identity that blends European and Amerindian beliefs and cultural practices?
|
mestizo
|
|
|
What is sesquialtera?
|
the combination of duple and triple rhythmic patterns simultaneously in different instrumental parts or sequentially in the same instrumental part
|
|
|
Which of the following is a couples' handkerchief dance and song style marked by duple-triple hemiolas, a moderate tempo, and a three-part form?
|
marinera
|
|
|
Which of the following best describes the term mariachi?
|
ensemble type originally from Jalisco, Mexico, consisting of two or more violins, vihuela, guitarrón, two trumpets, and various guitars
|
|
|
Among the Suyá of the Amazon, which of the following musical instruments is the most important?
|
the human voice
|
|
|
Which of the following is the Afro-Brazilian religion found in Bahía, Brazil, with a drumming tradition derived from Yoruba (Nigerian) antecedents?
|
Candomblé
|
|
|
Which of the following is Mexico's most important song-dance genre, a strophic song usually on romantic themes and in many regions characterized by sesquialtera rhythm?
|
son
|
|
|
Which of the following is an Andean end-notched flute that predates the arrival of the Spaniards on the continent?
|
kena
|
|
|
Which of the following is a recent addition to the list of costumed dance groups in the Paucartambo festival, mocking outsiders?
|
a group dressed as young "hippie" tourists, wearing backpacks and floppy hats and waving toy cameras in people's faces
|
|
|
Which of the following factors is one of the major sources of unity for Latin America and its various cultural groups?
|
Iberian colonialism
|
|
|
Which of the following, from the rural, southern coastal region of Veracruz state, is a musical group that includes a large diatonic harp, a requinto, and one or more jaranas?
|
jarocho ensemble
|
|
|
The charango is
|
a ten-string Andean guitar variant the size of a ukulele.
|
|
|
What kind of instrumental ensemble is made up of instruments such as surdos, aagogós, pendeiros, tamborím, and cuícas?
|
samba
|
|
|
Which of the following is a wooden, keyed xylophone originally from Africa that is widely popular in Latin America?
|
marimba
|
|
|
Which regions of Latin America are most characterized by the predominance of European heritage and a cosmopolitan cultural style?
|
Argentina and Chile
|
|
|
Which of the following is a cultural characteristic shared by many mestizo cultures throughout Latin America?
|
regular performances of costumed dances and parades
|
|
|
Which of the following best describes the typical subjects of son lyrics in Mexico?
|
women and romantic love, often in a very playful tone
|
|
|
Conjunto norteños are known for performing all of the following song styles
|
ranchera. polka. corridos.
|
|
|
The following excerpt demonstrates which genre of siku music?
|
lento
|
|
|
Which instrument is the center of the instrumental ensemble in this excerpt?
|
violin
|
|
|
Which of the following ensembles displays a mestizolike blend of European instruments and indigenous Andean flutes to accompany dancing?
|
orquesta tipica
|
|
|
The song "La Bamba," made famous by singer Richie Valens, is in which of the following styles?
|
son jarocho
|
|
|
Which of the following instrument types probably did not exist in pre-Columbian Central and South America?
|
stringed instruments
|
|
|
Sikus, kenas, tarkas, and pinkillus are musical instruments that can be associated with which of the following groups?
|
Aymara
|
|
|
The Suyá believe that songs come from and are learned from animals, insects, fish, and plants of the forest.
|
True
|
|
|
The marímbula and the papai benta are two different types of
|
lamellaphone
|
|
|
All of the following are ways in which Aymara musical performance is shaped by Aymara social collectivity
|
-Aymara musicians do not comment on or correct the musical performance of others in their group.
-The primary aesthetic value is to play "as one," or for the group to sound like a single instrument. -Panpipes are played in pairs, hocket style, requiring two musicians to work together in order to sound all of the notes of any given melody. |
|
|
Which of the following best articulates an important difference between Aymara and Suyá musics?
|
The Suyá have songs that are individually owned and sung, and they sometimes sing them all together at the same time in a dense "cacophony." |
|
|
Which of the following statements most accurately describes the significance of the currulao?
|
This transnational genre found along the coasts of Ecuador and Colombia exemplifies African musical characteristics present in the Americas.
|
|
|
Which of the following stringed instruments is the most popular in Latin America?
|
the guitar and its many local variants
|
|
|
During the festival in Paucartambo, how are people of mestizo and indigenous status distinguished from one another?
|
Only mestizo people may participate in the festival-indigenous people, no matter where they are from, are excluded from performing.
|
|
|
Which of the following statements accurately compares Mexican mestizo performances with Peruvian ones?
|
Native American elements are less pronounced in Mexican mestizo culture than in the mestizo culture of southern Peru.
|
|
|
The instrumentation of this excerpt points to an ensemble with its roots in which of the following time periods and places?
|
pre-Columbian Andes and Mexico
|
|
|
What vocal effect is used in this excerpt to ornament the singing style?
|
falsetto
|
|
|
three types of son |
jarocho huasteco wasteco |
|
|
son jarocho |
labamba wedding song southern region harp, guitar,jaranas strophic songs |
|
|
son huasteco |
nw mexico cafes, resturants, parties violin, guitars-huapanguera and jarana |
|
|
son wasteco |
mariachi 2 violins,vibuela,trumpets,guitars jalisco region |
