Music 345 Midterm 1

Front 1

Ethnomusicology

Back 1

the study of social and cultural aspects of music and dance in local and global contexts

Front 2

Cultural relativism

Back 2

the principle that an individual human's beliefs and activities should be understood by others in terms of that individual's own culture.

Front 3

Enculturation

Back 3

the process by which a person learns the requirements of the culture by which he or she is surrounded, and acquires values and behaviours that are appropriate or necessary in that culture

Front 4

Timbre

Back 4

tone color; a description of the “color” of sound; the quality of sound that
distinguishes one instrument or voice from another; the description/quality of sound

Front 5

Ornamentation

Back 5

to “decorate” a note with extra notes (typically notes adjacent to the
original note) or musical effects.

Front 6

Microtone

Back 6

notes whose tunings lie outside conventional Western tunings; notes with
intervals than a half step (a half step is the smallest interval used in most “Western”
music).

Front 7

Ostinato

Back 7

a motif or phrase which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds, wherein each note always has the same weight or stress

Front 8

Call and response(musical form)

Back 8

a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first.

Front 9

Vocable

Back 9

a sung syllable with no translatable meaning

Front 10

Chordophone

Back 10

instruments which produce sound by means of a vibrating string
[shorthand-string]

Front 11

Membranaphone

Back 11

an instrument which produces sound by means of a
vibrating flexible membrane. [shorthand-drumhead]

Front 12

Aerophone

Back 12

an instrument which produces sound by means of an air column;
[shorthand-wind, breath

Front 13

Idiophone

Back 13

literally "self sounding"; broadly defined as an instrument which
produces sound w/o the addition of a stretched membrane, vibrating string or
reed; constructed of solid, non-stretchable material. [shorthand-none of the
above].

Front 14

Electrophone

Back 14

instruments which produce sound purely by electrical means
[shorthand-electric]

Front 15

Lamellaphone

Back 15

instrument has a series of thin plates, or "tongues", each of which is fixed at one end and has the other end free. When the musician depresses the free end of a plate with a finger or fingernail, and then allows the finger to slip off, the released plate vibrates.

Front 16

Theramin

Back 16

an early electronic musical instrument controlled without contact from the player. Hand proximity used to control sounds

Front 17

Military Music

Back 17

• Janissary: elite troops of the
Ottoman Empire
• mehter: Janissary/Ottoman military
music ensembles
• European contact

Front 18

Adhan

Back 18

-Islam

-called out by the muezzin in the mosque five times a day, traditionally from a minaret, summoning Muslims for mandatory prayer

Front 19

Muezzin

Back 19

the chosen person at a mosque who leads the call to prayer

Front 20

Tarab

Back 20

-Arab

State of ecstasy/ trance in arab music

Front 21

Ughniyah

Back 21

-Arab

Song

Front 22

Maqam/Maqamat

Back 22

means place, location or rank. The Arabic maqam is a melody type. Maqam is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and which is "unique to Arabian art music."

Front 23

Umm Kulthum

Back 23

Arab/Egyptian

most prominent singer in the
Arab world in the 20th century
•  career intersected with
technological developments
and Egyptian nationalism

Front 24

Inta Umri

Back 24

Very famous Umm Kulthum song. Extremely long. She varies her voice notes throughout it

Front 25

Ottoman

Back 25

18th century, Ottoman culture
began to influence European
society (Austria). Military Music. Tukery, Mehter March

Front 26

Janissary

Back 26

elite troops of the
Ottoman Empire

Front 27

Mehter

Back 27

Janissary/Ottoman military
music ensembles

Front 28

Zurna

Back 28

-Turkey
a multinational outdoor wind instrument, usually accompanied by a davul (bass drum) in Anatolian folk music

Front 29

Kos & Nakkare

Back 29

Kos: giant kettledrums played on horseback, are a separate instrument. These drums and the davul or cylindrical drum were used in Ottoman mehter music.

Nakkare: refers to small kettledrums beaten with the hands or two sticks

Front 30

Boru

Back 30

Turkish Military Horn

Front 31

Zil

Back 31

Turkey

Miltary symbols/cymbals

Front 32

Cevgen

Back 32

Turkey

a kind of stick bearing small concealed bells)

Front 33

Hal

Back 33

Iran

Mystical State of Ecstasy; spiritual mood of performer and audience; a state where one is taken away from oneself (losing yourself in the music)

Front 34

Bazm

Back 34

Iran

???

Front 35

Dastgah

Back 35

Iran

a musical modal system in traditional Persian art music. Persian art music consists of twelve principal musical modal systems or dastgāh
Each dastgāh consists of seven basic notes, plus several variable notes used for ornamentation and modulation.

Front 36

Radif

Back 36

Iran

meaning order in Persian) is a collection of many old melodic figures preserved through many generations by oral tradition. It organizes the melodies in a number of different tonal spaces called Dastgah.

Front 37

Santur

Back 37

Iran

hammered dulcimer, of Persian origin (references?). It is a trapezoid-shaped box often made of walnut or different exotic woods. The original classical santur has 72 strings. T

Front 38

Tar

Back 38

Iran

a long-necked, waisted Iranian instrument. means "string" in Persian

Front 39

Ney

Back 39

Iran

an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. It is a very ancient instrument

Front 40

Kamache

Back 40

Iran

Persian bowed string instrument related to the bowed rebab. From the bottom protrudes a spike to support the kamancheh while it is being played,

Front 41

Zarb/ Dombak(tombak)

Back 41

Iranian

a goblet drum from Persia (ancient Iran). It is considered the principal percussion instrument of Persian music. The tonbak is normally positioned diagonally across the torso while the player uses one or more fingers and/or the palm(s) of the hand(s) on the drumhead

Front 42

Dayeh/daf

Back 42

Iran

Large frame drum

Front 43

Pish daramad

Back 43

Iran

Opening piece that establishes Dastah. Piece is often improvised and is meterless

Front 44

Chahar Mezrab

Back 44

Iran

Instrumental solo with driving rhythm and noticeable meter
reng (ring in reading) – Fast pre-composed metric piece for ensemble; usually utilizes a dance rhythm; typically used to end performance.

Front 45

Tahrir

Back 45

Iran

An ornament used by vocalists such as rapid oscillations

Front 46

Madnel, Mali

Back 46

Mande peoples share cultural
lineage and family of languages
•  Descendants of the empire of Mali,
founded in 13th century by Sundiata
Keita
•  key trade location as southwestern
“coast” of Saharan Desert

Front 47

Jali, Jalolu

Back 47

•  system/art of hereditary
professional musicians, praise-
singers, oral historians of Mande
society in West Africa; the art of a
jali
•  jali (jeli) /griot (sing.); jalolu (pl.)

Front 48

Jaliyaa

Back 48

•  Mande jalolu traditionally served
elite patrons in Kingdom of Mali
•  learn trade as apprentice for master
•  receive gifts, not payment
•  sang praise songs for patrons (king)
•  brought the memory of the dead to life,
“woke” the dead through remembrance
•  jalolu held only known genealogies;
prodigious memories (can recite
genealogies for hours)

Front 49

Kora

Back 49

a twenty-one stringed
harp (spike harp, bridged harp);
variety of tunings. Performer w/ crazy chick played behind his back

Front 50

Balafon/Bala

Back 50

wooden xylophone
with gourd resonators (buzzing
aesthetic)

Front 51

Djembe

Back 51

West Africa
The djembe drum (sometimes spelled jembe) is one of many drums used in Mande
culture, but it is by far the most popular. Known for its deep bass pitch and high, sharp
slap-like notes, the djembe drum’s high volume have made it a popular drum that has
been adopted not only by other African cultures but also drummers around the world,
with several American and European drum manufacturers now mass producing
djembes to meet demand. A single drumhead stretched over a goblet-shaped drum, the
djembe drumhead is made of animal hide attached the drum shell with a series of
ropes. Traditionally it is tuned using heat (sunlight, fire, heaters), which tightens the hide
drumhead, though mass-produced drums have mechanical tuning. The drum is used to
accompany dance, jaliya, band music, and, as is heard here, in drum ensembles with
other supporting drums. When played in groups, djembe drummers play repetitive
supportive parts and feature a lead soloist.

Front 52

Kuma

Back 52

West Africa
integration of playing, singing, and
speech

Front 53

Kumbengo

Back 53

West Africa

instrumental ostinato
(repeating) pattern that accompanies
words (spoken/sung)

Front 54

Birimintingo

Back 54

West Africa

virtuosic instrumental
music (played between vocal
sections)

Front 55

Toumani Diabate

Back 55

West Africa

Malian musician Toumani Diabaté (b.1965), who reported comes from seventy-one
generations of jaliya. This is an example of the modern jaliya tradition.

Front 56

Salif Keita

Back 56

West Africa

Salif Keita brings the
music of jaliya to world beat audiences, though he is not a hereditary jali but rather of
noble birth. Keita is renown for his compelling voice, while his lyrics typically range from
jali-style praise singing to autobiography to critique of social injustice

Front 57

Manjou

Back 57

West Africa

Salif Keita Song

Front 58

Nguni

Back 58

meta-cultural classification
referring to the Zulu, Swazi, and
Xhosa peoples in Southern Africa. heavy
emphasis on singing

Front 59

Zulu

Back 59

South African Tribe

Front 60

Ngoma ebusuku/Nightong(+influences)

Back 60

New style of music emerged among workers was hybrid music between South African and European / African American music.

Front 61

Mbube

Back 61

South Africa/Zulu

Style of music added high independent lead part and choir area. Added vamp sections and increased bass singers Mbube hit song in Lion King. Nightsong genre became known as
Mbube

Front 62

Solomon Linda

Back 62

South Africa/Zulu

added high, independent
lead part to choir; increased number of
bass singers; added vamp section of
steady harmonies

Front 63

Isicathamiya

Back 63

South Africa/Zulu

since 1970s nightsong/mbube choirs
and music called

Front 64

Ladysmith Black Mambazo

Back 64

South Africa/Zulu

Joseph Shabalala (b.1941) leader
•! LBM have dominated isicathamiya
for more than three decades
•! Paul Simon on his Graceland
recording (1986); LBM achieved
global acclaim performing w/Simon;
•! won three Grammy awards

Front 65

Joseph Shabalala

Back 65

South Africa/Zulu

Leader of Ladysmith Black Mambazo

Front 66

Enoch Sotanga

Back 66

South Africa/Zulu

Nkosi Sikelel’ iAfrica”
•! Composed in 1897 by South
African Rev. Enoch Sotonga (a
Xhosa choirmaster who taught
at a Methodist school)
•! typical homophonic Christian
Hymn

Front 67

Nkosi Sikelel' iAfrika

Back 67

South Africa/Zulu
hymn
was adopted as anthem of the
ANC, which later became a lead
organization in fight against
apartheid (Nelson Mandela)
•! censorship: hymn’s association
with the ANC and Mandela led to
song being viewed as political,
confrontational in certain contexts

Front 68

South African National Anthem

Back 68

South Africa/Zulu

1994: Nelson Mandela becomes
President of South Africa; previous
anthem and “Nkosi Sikelel’ iAfrica”
exist as dual anthems
•! 1997: new national anthem blends
the two anthems into one

Front 69

Mbira(+uses)

Back 69

South Africa/Zulu

Shona lamellaphone; used for
religion, personal expression,
entertainment

Front 70

Mbira dza vadzimu

Back 70

South Africa/Zulu

very significant in Shona religion and culture, considered a sacred instrument by natives. It is usually played to facilitate communication with ancestral spirits.

Front 71

Vadzimu

Back 71

Zimbabwe

???

Front 72

Bira

Back 72

Zimbabwe

Thumb Piano. A musical instrument consisting of a wooden board to which staggered metal keys have been attached. It is often fitted into a resonator

Front 73

Chuning

Back 73

Zimbabwe

elements of a particular
mbira’s sound (tuning, timbre, volume,
etc)

Front 74

Kushaura & Kutsinhara

Back 74

Zimbabwe

kushaura – leading part (begins)
•! kutsinhara – following part (enters
second)

Front 75

Huro

Back 75

Zimbabwe

high passage with yodeling
ornaments, typically descending; uses
vocables

Front 76

Mahon'era

Back 76

Zimbabwe

normal singing voice in
mid-/low register

Front 77

Ululation

Back 77

Zimbabwe

very high-pitched ornamented
cry (women only); approval,
encouragement

Front 78

Hosho

Back 78

Zimbabwe

?????

Front 79

Chimurenga

Back 79

Zimbabwe

struggle [for black African rule]

Front 80

Thomas Mapfumo

Back 80

Zimbabwe

created and made popular Chimurenga music