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12 Cards in this Set
- Front
- Back
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John and Alice Coltrane - “Reverend King” |
Geographic area: U.S. Musical details: “free jazz”, no harmonic structure, sometimes no solo or melody, lots of overblowing/screeching Contextual details: in honor of Martin Luther King Jr. in the late 60’s; “scream” held up by black militants; political, re-noiseification of jazz |
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Merzbow - “Electric Peekaboo” |
Geographic area: Japan Musical details: “noise”, uses squeals from feedback on repetitive loop, abrupt changes in timbre Contextual details: 1980, inspired by Dada art (Bruxus, Schwiter) |
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Acrassicauda - “Rise” |
Geographic area: Iraq Musical details: between thrash and nu metal, bit of an Arabic vibe, alternating vocals - sometimes sung, sometimes death grunt, sometimes high pitch scream, almost doom style lumbering riffs Contextual details: performed under Saddam Hussein’s regime, didn’t make the music itself political |
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Slowdeath - “The Pain Remains the Same”
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Geographic area: Indonesia
Musical details: heavy distorted guitars, frenetic riff, blast beat, death grunt, violent imagery Contextual details: heavily political, references to Dutch colonialism, disenfranchised Reformasi movement that came after resignation of Soeharto regime - resistance to capitalism, militarism, racism. |
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BABYMETAL - “Megitsune” |
Geographic area: Japan Musical details: instruments played by a death metal band; combination of pitched-vocals and shouting; synthesizer "riff" over-top blast beats; band in video playing traditional Japanese instruments Contextual details: talks about womanhood and the social orders that woman subjected to obey; |
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The Bags - “Gluttony” |
Geographic area: U.S. Musical details: punk; noisiness, inconsistency; vocal expression in extreme forms: screams, guttural sounds as bodily revolt Contextual details: Women and queer-identifying people using punk as an arena for critiques of normality and of being "out" |
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G.I.S.M. - “Endless Blockades for the Pussyfooter”
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Geographic area: Japan Musical details: punk; reggae influence; syllabic vocals; loud sound systems in small clubs; use of musical space Contextual details: not discussed in class |
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Avril Lavigne - “Sk8er Boi” |
Geographic area: U.S. and Canada Musical details: punk; reggae influence; syllabic vocals; heavy reggae beat emphasized by guitar and snare drum; loud sound systems in small clubs; use of musical space Contextual details: combing pop and punk - successful commercialization |
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Dar Barnu Stambeli Troupe - “Sidi Bu Ra's el-'Ajmi" |
Geographic area: North Africa/Tunisia Musical details: call-and-response voice; cyclical sound structure; lyrics incomprehensible; intentional "rhyme elasticity" Contextual details: an arena for negotiating one's ancestry and belonging; a cure; a ritual offering |
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DJ Screw and Big Moe - “Sippin’ Codeine” |
Geographic area: U.S. Musical details: chopped and screwed; slowing down both the beat and the vocals over top; slow, stretched out, warped, and low sound Contextual details: variable accounts of the relationship between drank, the chopped and screwed sound, and the sensations associated with codeine high |
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Madison’s Lively Stones - “He Included Me” |
Geographic area:U.S. Musical details:shout music; gradual increase in tempo/speed; repetitious musical phrases and singing; Contextual details: such music facilitate the church's shouting (ecstatic worship) so that they may be "filled with the Sprit" |
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Umm Kulthum - “Inta Omri”
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Geographic area: Egypt Musical details:lyrics about pain and suffering that accompanies love; distinct sections; hetero-phonic texture; moments where the singer decides to repeat sections Contextual details: flexiable form based on the audience response; aim to cultivate the ecstatic state of tarab for both performers and audience members |
