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38 Cards in this Set
- Front
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affective overdrive |
a musical-somatic phenomenon in which music fills “one’s awareness to such an extent that, while listening, it becomes impossible to think about or feel anything else” (Wallach, Berger and Greene 2011: 13). (syllabus) |
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carnivalesque |
a historical phenomenon (carnival) that became transmuted into a literary style ➤ chaos, disorder, mixing of unlikely elements, comically or repulsively ugly or distorted (often bodily in nature) ➤ affective/affecting phenomenon: revelry, humor, pleasure, bricolage[(in art or literature) construction or creation from a diverse range of available things] (Lecture 03) |
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chopped and screwed |
a style of slowed-down rap associated with drugs like codeline - known for slowing down both the beat and the vocals over top; the result is a slow, stretchedout, warped, and low sound (Lecture 04) |
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darbuka |
(Lecture 05) A traditional Middle Eastern percussioninstrument. |
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distortion |
Form of audio signal processing used to alter the sound of amplified electric musical instruments usually by increasing their ‘gain’. The effect alters the sound by clipping the signal, adding sustain and harmonic/inharmonic overtones and leads to a compressed sound
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dread |
(Lecture 03) "Dread" is a poly-semantic term. It seems to encompass righteousness, Biblical "wrath" and the fear inspired by that wrath |
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ethnomusicology
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The study of people and music. "Anthropology of music"; embraces cultural relativism, critiques ethnocentrism |
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extreme metal |
Significantly heavier musically thantraditional heavy metal and features a DIY underground ethos. It frequentlyteeters on the edge of formless noise and Kahn-Harris has described it asauditory radicalism for not only its subject matter, but the extremelyaggressive and relentless instrumentation. |
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Firqa |
A type of large ensemble emerged in Egypt. A typical firqa ensemble incorporates both Western and Middle Eastern instruments; a sort of hybrid orchestra |
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Free Jazz |
Embraces noise. Spontaneousmusic that is played without a set harmonic structure. Often times it is playedwithout solos or melodies and features a constant joining in and dropping outof musicians. Cuts the connection traditional jazz had with show tunesand dance hall. |
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Feedback |
A.K.A ‘audio feedback’ occurs when a sound loop exists between an audioinput (microphone) and an audio output (a loudspeaker). |
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Gumbri |
A musical instrument found primarily inNorthern Africa as well as Mali and used in Stambali. It is a plucked bassinstrument. |
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Imagined communities |
Related to Nationality - Nation is a community socially constructed, imagined by the people whoperceive themselves as part of that group. |
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heavy metal |
A cluster or broad term used for rock stylesthat emphasise: Louddistorted guitars· Prominentand aggressive drums· Emotionallyextreme singing techniques· Musicalcomplexity |
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heterophonic/heterophony |
Texture of Firqa. All instruments hovers around the same melody with simultaneous variation of a singlemelodic line. |
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nay |
End blown flute that features prominently in Middle Eastern music. Used in Firqa |
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noise/Noise |
unpitched, indeterminate, uncontrolled, loud, unmusical, or unwanted sound.
OR a category of music that is characterised by the expressive use of noise within a musical context. |
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oral transmission |
Learning music by ear. As opposed to written transmission |
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'oud |
String instrument used prominently in Arabic music. Part of Firqa ensemble |
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punk |
Originally used as a slur. Originated musically in the mid-1970s; musically it is traditionally short and fast paced songs with hard-edged melody and singing style, stripped down instrumentation and political,anti-establishment lyrics. Like Extreme Metal, it features a DIY ethic of bothmusic production and dissemination. |
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Qanun |
A string instrument used in Firqa |
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queercore |
Cultural and social movement that began in the1980s as an offshoot of punk. Themes frequently touch upon discontent withsociety and society’s disapproval of LGBTQ community. Lyrics talk of sexualidentity, gender identity and rights of the individual. Another musical exampleof DIY style. |
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reformasi |
Resistance to capitalism, racism, and militarism; explicitly political lyrics present especially in Indonesian punk, hardcore, death metal, and grind-core, often sung in English |
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riqq |
A type of tambourine used in Firqa |
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Rock Against Racism |
Campaign set up in the UK in 1976 as aresponse to increase in racial conflict and the growth of white nationalistgroups |
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Shout |
The genre of music whose primary function is to facilitate the church’s shouting (ecstatic worship) so that they may be “filled with the Spirit.” |
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shqashiq |
Ametal percussive instrument. Used in Stambeli |
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Situationist International |
radical, anti-capitalist movement of intellectuals and artists |
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sound studies |
An interdisciplinary field concerned with bothcontemporary sound worlds as well as sound in historical perspective. |
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stambeli |
A ritual in Northern Africa that involves sound, movement, and costumes |
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subculture
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A cultural group within a larger culture, often having beliefs or interest at variance with those in the larger culture; brings like-minded individuals who feel neglected by society together.
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Syllabic |
Syllabic text setting, in music, in which each syllable is matched to a single note, as opposed to melismatic
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tarab |
similar to a type of ecstasy. Tenuous connections to “affective overdrive”. Achieved through interaction and interplay between audience and performer and heightened by Umm Kulthum by studying her audience’s responses and molding her music improvisationally to connect better.
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Timbre |
Perceived sound quality of a musical note, sound or tone that distinguishesdifferent types of sound production. |
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Ughniya |
Originated in 1930s Egypt.Anysection or melody may be spontaneously repeated based on artist discretion. Itis a very flexible style of music. |
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UnitedHouse of Prayer for All People |
African American denomination in the tradition of the Sanctified church. Known for the shout bands |
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visual kei |
genre of music originating in Japan. Gender ambiguity, elaborate "themed" costumes |
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written transmission |
Essentially the writing down and standardizing of notes, rhythms, tempoetc. |
