World Music 2

Front 1

Gilak

Back 1

8 beat gong cycle, 2 gong agengs, kempur, bendé

Front 2

ponggang, or pokok

Back 2

tree trunk, core melody - 2 hand held tuned gongs

Front 3

reyong and ceng ceng

Back 3

elaboration on the core melody, crash symbols (kilitan telu) and higher pitched hand held gongs (pots)

Front 4

Kendang

Back 4

conductor, 2 drums, kilitan telu

Front 5

Kebyar

Back 5

most popular style of balinese gamelan, means to light a match, explosive stopping and starting, no gong cycle

Front 6

Characteristics of gamelan

Back 6

related instruments playing together
basis in cyclic musical forms
related tuning systems, scales, modes
multipart textures in which higher parts play more rapidly than lower pitches

melodic organization in which a slow moving core is elaborated on by faster melodies played by other instruments

common associations w/ dance drama,and historical foundation in hinduism

Front 7

gamelan

Back 7

ensemble literally means "to handle"

Front 8

Kecak

Back 8

form of music drama performed by men aka monkey chant, tells story of ramayana

Front 9

Characteristics of gamelan

Back 9

related instruments playing together
basis in cyclic musical forms
related tuning systems, scales, modes
multipart textures in which higher parts play more rapidly than lower pitches

melodic organization in which a slow moving core is elaborated on by faster melodies played by other instruments

common associations w/ dance drama,and historical foundation in hinduism

Front 10

gamelan

Back 10

ensemble literally means "to handle"

Front 11

Kecak

Back 11

form of music drama performed by men aka monkey chant, tells story of ramayana

Front 12

classicization

Back 12

influence from the past where they look at older forms of gamelan,making a new way or using an old form.

Front 13

"beleganjur music performed during a balinese cremation process"

Back 13

can hear that you are on the street, women and men sing sacred verses, moving about, lead drummer cues the rest to play (kendang), then gong cycle comes in, rhythm and energy fluctuate

Front 14

"kecak"

Back 14

vocal gamelan

Front 15

"jaya semara"

Back 15

typical characteristics of a balinese kebyar, speeds up, then slows down, no gong cycle

Front 16

"kreasi beleganjur contest"

Back 16

ensemble virtuosity, kebyarization and classicization

Front 17

"wira ghorava cakti ' 95"

Back 17

at certai points the gong cycleand time-keeping kempli drop out copmletely, separate rhythm pattern for each cymbal player, varieties in rhythm,

Front 18

B.A.Ph.Pet

Back 18

Michael Bakan piece, post traditional balinese gamelan piece scored for gamelan ogng kebyar instruments, and also synthesizers. has many balinese elements, kebyarization, classicization.

Front 19

Barhat

Back 19

– growth of a raga

Front 20

gharana

Back 20

the “musical families” that have preserved, cultivated , and developed the different “Schools” of traditional Indian music

Front 21

guru

Back 21

mentor, teacher

Front 22

Hindustani music

Back 22

- hindi language
- influenced by islam in style and instruments
- more international exposure in world music market

Front 23

Karnatic Music

Back 23

- stronger religious base
- pre-islamic hindu

Front 24

features of Indian music:

Back 24

- based upon melodic improvisation by soloists
- accompaniment by a drummer
- single-line melodies guided by a raga
- Cyclic conception of meter: tala
- Drone played by a tambura/tanpura

Front 25

Sitar

Back 25

a plucked chordophone,

Front 26

Sarod

Back 26

another type of plucked chordophone

Front 27

Tambura –

Back 27

drone providing instrument

Front 28

tabla

Back 28

drum commonly used in raga

Front 29

vina

Back 29

south Indian chordophone instrument one of the main instruments used in karnatic music

Front 30

violin

Back 30

as an Indian raga,

Front 31

Trilok Gurtu

Back 31

– Indian performer who crossed over into jazz

Front 32

Sam

Back 32

first beat of each tala cycle, which simultaneously function as the last beat of preceding cycle.

Front 33

Anoushka Shankar

Back 33

Ravi Shankar’s daughter sitarist

Front 34

Alap

Back 34

first part of raga serves to :
1) introduce listener to raga
2) explore melodic capabilities
3) introduce performer's playing style/improvisatory skill

no meter, free rhythm, rhythm becomes faster, more dense as it builds

Front 35

Rasa

Back 35

the emotion/feeling communicated through rasa

Front 36

Gat

Back 36

following establishment with alap, meter starts, tabla enters, after the alap, not improvised anymore. Growth of musical interactions between performers performance builds to the end.

Front 37

Tihai

Back 37

same rhythmic patter played 3 times in succession, played precisely on sam to end piece.

Front 38

tala

Back 38

the cyclic conception of time/metric cycle, functions as a rhthmic framework for the raga

Front 39

tintal

Back 39

16 beat meter

Front 40

where did indian music evolve from?

Back 40

vedic chant through a centuries long process of musical transformation.

Front 41

bhajan

Back 41

hindu devotional song, shows beginning of indian music form.

Front 42

"ishq"

Back 42

Sufism is a mystical form of Islam that has strong influence on indian culture. Shares with hinduism belief that music serves as a pathway to communion w/ divine. Originated from Punja region.

Front 43

"raga nat bharav"

Back 43

typical raga w/ tintal

Front 44

"india"

Back 44

john coltrane, studied w/ ravi shankar, admired him greatly, as an experimental musician took his influence to make this indian influenced piece

Front 45

bhangra

Back 45

punjab music, heard in bollywood productions, folk songs and dances,

Front 46

similarities between karnatic and hindustani

Back 46

raga as basis of melody, tala as basis of meter, part of larger traditions, singing highest form of musical expression, instrumental trditions connected to parallel vocal training, related histories, related instruments.

Front 47

differences between karnatic and hindustani

Back 47

recognized as different traditions, hindustani has greater influence from islamic cultures, hidustani has more international exposure adn recognition outside of india, karnatic status of singing more elevative relative to instrumental music, hinudstani: sitar, tambura, tabla instrument trio is common, Hindustani: vina, tambura and mrdangam instrumental trio is common

Front 48

"joy"

Back 48

draws upon raga elements, combining them wtih jazz derized forms and structures. tala-like metric cycle, each section has length of 16 beats (like a tintal).

Front 49

"living magic"

Back 49

global usic fusion, rhythmically its made of different conventional tala cycles and western meters to get 7 beates, then 10.5, then 13 3/4. melodicaly very complex too. Grows like a standard raga, except no tihai.