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;
179 Cards in this Set
- Front
- Back
Note
|
named or represented pitch
|
|
Pitch
|
highness or lowness of a sound
|
|
Interval
|
distance between high / low note
|
|
melody
|
pitches in succession
|
|
scale
|
set of pitches, presented in one-note steps
|
|
rhythm
|
succession of durations
|
|
meter
|
pattern of strong and weak counts
|
|
critiques
|
biggest problems are the smallest units.. the semitone
|
|
music
|
humanly organized sound
|
|
culture
|
Soundly organized humanity
|
|
acoustical characteristics of sound
|
pitch, duration, quality, timbre, intensity, loudness/softness
|
|
soundscape
|
an acoustic environment or an environment created by sound
|
|
khoomi
|
Tuvan throat singing
|
|
Qin
|
Authentic Chinese instrument
7-string zither |
|
Huangdi
|
the first leader of Chinese ancestors in myth
|
|
pipa
|
a plucked Chinese string instrument
|
|
status of professional musicans in acient china
|
low
|
|
Learn pipa from
|
jiaofang, the imperial conservatory
|
|
Huangdi
|
yellow emporer, the first leader of Chinese ancestors in myth
|
|
Zhou Dynasty
|
Longest dynasty in chineese history
|
|
Shijing
|
translated variously as the Classic of Poetry,is the earliest existing collection of Chinese poems. It comprises 305 poems
|
|
Confucianism
|
once became the ideology of the ruling class in Han dynasty (206 BC to 220AD), and resumed its role in Song dynasty (960BC–1279AD) until the fall of last empire in 1911.
|
|
The house of cards
|
Everyone acts appropriately according to his social role
|
|
Literati
|
The ruling class of ancient imperial China
|
|
4 arts of the literati
|
shu - calligraphy
qi - go chess qin hua - painting |
|
valued in Confucianism
|
music
|
|
symbolic structure of qin
|
13 months in chineese year, 13 hui
3 feet 6 inches long, 366 days in chineese year |
|
The symbolic structure of qin :
cosmology |
heaven, earth, man
|
|
Melismatic VS Syllabic
|
melismatic = changing note (pitch) with each syllable
syllabic = each syllable correseponds to one note |
|
the Qin represented
|
the “high culture” of “ancient China
|
|
Extremely popular instrument in Tang dynasty
|
pipa
|
|
Professional musicians in Ancient China after Tang dynasty
|
Music affiliated with sex and erotic (female)
Disabilities (male) |
|
3 oral traditions of pipa music
|
Narrative Music, ensembles, solo performace
|
|
Ya
|
elegance
|
|
Xu
|
vulgar
|
|
Gamelan
|
Indonesian ensemble used for court music and the shadow play
|
|
The Saron
|
instument of the gamelan(usually 7) thick bronze keys on a wooden resonator
|
|
Gamelan Scales
|
Slendro: (6) 1-2-3-5-6 (1)
Pelog: 1-2-3-4-5-6-7 |
|
Balungan
|
melody
|
|
Slentem
|
instrument of the gamelan 7 thin bronze keys and resonating tubes
|
|
Gamelan Elaborating instruments
|
saron peking, Gender (thin bronze keys and resonating tubes),bonang (brass pots),
|
|
Colotomic
|
one instrument marks the metric structure
|
|
gong ageng
|
largest suspended gong
|
|
time between gongs in gamelan
|
gongan.. which is divided by 4 kenongans
|
|
kenong
|
largest cradled gong
|
|
kempul
|
smaller hanging gong
|
|
kethuk
|
smaller cradled gong
|
|
the Bali & gamelan Hindu is
|
faster/virtuosic
|
|
Sanghyang Dedari
|
vocal gamelan
|
|
stages of the gamelan
|
Speration - prepare space
Liminality - Music sets up trance Re-integration - out of trance |
|
Gamelan angklung
|
4-tone instrument
used in cremation ceremonies |
|
authenticity
|
a quality ascribed to a music or musical practice which validates as original, real, or true; often linked to a place of origin (geographic)
|
|
Rave in ritual stages
|
separation / prepare space & travel
liminality / dancing and music re-integration / chat on-line |
|
Majles
|
informal gathering of men to hear a concert
|
|
musiqi
|
metric, composed songs
|
|
khandan
|
recitation... improvised
non-metric reciting tone |
|
types of "vocal" music
|
the call to prayer
reading the Quran |
|
vocal music becomes MUSIC through
|
khandan, it's improvised
non-metric reciting tone |
|
hadith
|
stories of the Prophet
|
|
dhikr
|
chanting the name of God
|
|
tar
|
fretted lute
|
|
setar
|
small lute
|
|
Maqam
|
melodic mode in Middle Eastern classical music
|
|
maqam includes
|
set of pitches
typical melodic motion . . .written, scholarly theoretical tradition |
|
tonometry
|
transcription using piano
|
|
"Rules" for our melodies
|
stepwise motion
build to high note to the tonic! audience expects composers play writers theorize |
|
Raga
|
Melodic Theory in North and South Indian Music
Raga |
|
Raga is also
|
a scale / pitch collection and associated musical and extramusical ideas
|
|
Pitch elements of raga
|
Sa Re Ga Ma Pa Dha Ni Sa
|
|
Khyal
|
the modern genre of classical singing in North India
|
|
Vedas
|
holy texts of Rig Veda
|
|
religion of south india
|
Hindu
|
|
religon of north india
|
Hindu / Muslim
|
|
Kriti
|
major song type of South India
|
|
Tansen
|
Great Northern Musician
|
|
Tyagaraja
|
Great Southern Musician
|
|
Tala
|
recurring meter
|
|
Composition
|
musical piece "written" before playing
|
|
Improvisation
|
music is "made up" while playing
|
|
alap
|
the opening section of a typical North Indian classical performance
|
|
North Indian music
|
low status of composer / musician
|
|
South Indian music
|
high status of composer / musician
|
|
South Indian Kriti
|
Unnai Nambinen
|
|
Sections of Unnai Nambinen
|
Pallavi
Anupallavi Caranam |
|
bob johnson learned blues from
|
Son House
|
|
Attali's Four Stages of Music
|
1. Sacrificing- an oral tradition, used as a memory tool
2. Representing - printed music 3. Repeating - recorded and broadcast sound 4. Composing - a new way of making music |
|
Music Tourism
|
tool for economic development
|
|
issues with music tourism
|
authenticity, representation, control/power, economic equality, commodification (transformation of a perviously non-commercial product to a commodity that can be purchased)
|
|
importance of women on the silk road
|
circulation of non-material commodities (i.e. musical performance)
|
|
main instrument women played on the silk road
|
dutar
|
|
what instruments did women of the great silk road era play in their homes?
|
string central Asian lute
- quiet (could be played in women's portion of home / private) |
|
What is "Ma?"
|
the relationship between sounds and silences (for music)
|
|
give an example of Ma in architecture
|
The Nara Capital
|
|
Gagaku
|
elegant or refined music; the Imperial court music of Japan
|
|
togaku
|
"music of the left", China
|
|
komagaku
|
"music of the right", Korean
|
|
netori opening section...
|
first sho (bundle pipe)
then hichiriki (oboe) flute kakko (drum) |
|
hichiriki / flute have which part in a netori song
|
melody
|
|
sho has which part in a netori song
|
harmony
|
|
mu
|
a Japanese Zen Buddhist concept sometimes translated "nothingness"
|
|
mujo
|
impermanence
|
|
Samurai
|
the elite warrior class of Japan, also literati
|
|
shite
|
masked main actor
|
|
waki
|
secondary actor
|
|
5 parts (DANS) in a Noh play:
|
Act I:
Dan I introduction Dan II-IV – exposition of shite's spirit Act II: Dan V -shite transformed |
|
hashigakari
|
runway
|
|
backboards (pine trees)
|
where shite stops to gesture / narrate
|
|
tableaus
|
highly symbolic gestures
|
|
hayashi
|
flute and drum ensemble
|
|
Toru Takemitsu
|
self-taught Japanese film composer; mixed Western film music and Japanese classical music...
|
|
Akiro Kurosawa
|
best-known Japanese film director of C20
popularized samurai used noh stage / staging in film worked with Takemitsu on Ran |
|
Ma in star wars?
|
characters pause in a symbolic pose
|
|
is "ma" in Star Wars like "ma" of Nara / gagaku / noh?
how? or why / why not? |
poss essay
|
|
Thomas Edison inveted the phonograph but , Emile Berliner
|
patentes gramaphone; a disc
|
|
Phonograph parlors
|
1889, first parlor in San Francisco
|
|
1906, the Victrola
|
an instrument
a library turned phonograph into a piece of furniture instead of a big ugly machine |
|
phonograph has strong impact on music when it goes abroad
|
"foreign records" before WWI
"ethnic records" after WWi .... first decade of 1900's, record industry produces "foreign records" for this market |
|
"race records"
|
started in 1920s due to phonograph
exploitative arrangements between record companies and singers |
|
Salsa in Cali
|
• Effect of violence on memory
• Salsa as a melting pot of musical tradition • Collection of salsa dura as musical nostalgia |
|
Violence in Colombia
|
• Spanish Conquistadors
• Independence War 1810-1819 • The War of a Thousand Days 1899-1902 • “La Violencia” 1946-1953 • Military coup 1953-1957 • Conflicts with military, guerrillas 1970s to present • Drug Cartels |
|
• Neurosis
|
behavioral or psychosomatic symptoms from a repressed memory
|
|
Cali
|
• 2nd largest city in Colombia
• 60 miles from port of Buenaventura • 1980s- home of Cali drug cartel • Summer Salsa Festival |
|
What is Salsa?
|
• Salsa is a combination of Afro-Cuban, Puerto Rican, and Jazz musical traditions
• The name salsa came from the record industry- hot sauce |
|
Salsa as International
|
• Record executives branded the many types of Latino dance styles as Salsa
|
|
Salsa Sub-genres
|
• Salsa dura- 1960s and 1970s
-Uses salsa and son instruments and a horn section • Salsa romantica- 1980s and 1990s -Uses electric instruments, often in English |
|
Salsa’s trip to Cali
|
• Caribbean music traveled to Columbia on ships
• Sailors (chombos)brought the music and dance to the port of Buenaventura • La Pilota = Red light district • Recordings became commodity that traveled to Cali |
|
Caleños and Salsa
|
• People from Cali identify with the Caribbean
• Did not pick up live music tradition • Ownership and knowledge of salsa marks status • Salsa as a part of national identity |
|
Musical Memory
|
• Listening to recordings takes them to another place and time removed from current circumstances
• Nostalgia for the “good old days” before drug cartels took over Colombia |
|
Travellers
|
members of an ancient metal-working
class? Celtic bards? medieval tinsmiths? people of the Highland clearances or the Irish potato famine? (storytelling, music, crafts, etc.)--an oral culture |
|
instruments of travelers
|
pipes (uillean and highland),
fiddle, accordion, harmonica, harp |
|
travelers and Storytelling
|
known for Storytelling, told stories through music.. Jack Tales!! jack and the bean stalk, jack and etc...
|
|
JESS SMITH
|
Storyteller, best-selling
author, singer, poet and Scottish Traveller |
|
Geography of native american music
|
central plains and praries
Great Basin Nevada, Utah and Northern California |
|
Religious features and structures of native american music
|
vision quest
|
|
vision quest
|
The vision quest is to get clearer vision of one's life purpose
|
|
Musical characteristics of Plains music
|
high-pitch
pulsation tense descending contour vocables small range phrases repeated in pairs |
|
instruments of plains music
|
monophonic; producing one note at a time
|
|
Ghost dance
|
Wovoka taught that in order to bring this vision to pass the Native Americans must live righteously and perform a traditional round dance, known as the Ghost dance
|
|
Wovoka (1888)
|
created the ghost dance
|
|
Peyote Church
|
Native American church
based on Christian liturgy |
|
clutural influence of native american music
|
rap
|
|
stable religious groups
|
do not reject society
|
|
unstable religious groups
|
reject society
|
|
"nonconformist" or "dissenting" churches
|
: Mennonite, Quaker, Baptist, etc.
|
|
art world
|
the network of people who make, evaluate, render meaningful, and consume a particular kind of art; and the meanings and norms which are part of this world
|
|
religious music shares _______
mirrors or shares _______ where does it differ? |
shares musical content
mirrors or shares distribution where does it differ? rationale |
|
sex is what type of characterisitc
|
biological
|
|
gender is what type of charateristic
|
social
|
|
masculine tonal narratives tend toward
|
closure
|
|
feminine tonal narratives
|
don't tend toward closure, they move....
moves between bass ostinato and then between minor (main key) and relative major (F) but does not choose closure, instead moves through resisting closure, Madonna maintains a space for the feminine |
|
A "settler culture"
|
society of immigrant groups
|
|
musical style of creole
|
shout
call & response improvised percussion |
|
melting pot after civil war
|
creoles and cajans came together in a melting pot
1929 Creole accordionist Amédé Ardoin and Cajun fiddler Dennis McGee record Eunice Two-Step |
|
musical tradition can preserve
|
Musical tradition can preserve style and language
|
|
creole
|
refers to people of any race or mixture thereof who are descended from settlers in colonial French Louisiana before it became part of the United States in 1803 with the Louisiana Purchase.
|
|
cajun
|
an ethnic group mainly living in Louisiana, consisting of the descendants of Acadian exiles and peoples of other ethnicities with whom the Acadians eventually intermarried on the semitropical frontie
|
|
the nation as a political unit is
|
imagined
|
|
anthems
|
symbolize and enact the nation as a political unit
|
|
imagined communities
|
the community of the nation as imagined by those who feel themselves to be a part of it
|
|
Music is an "utterance," meaning ?
|
meaning different things to different people, as it moves between them in a dialogue
|
|
Two archetypes of anthem music
|
hymn and march
|
|
hymn
|
a song of praise to a deity
|
|
religious hymn as anthem
|
suggesting the divine origins and destiny of the nation
|
|
march
|
a form of music traditionally played by a military band to accompany a march
|
|
the march as national anthem
|
drawing attention to national strength embodied in the army, and origins in "battle glory," overthrowing tyranny or defending the nation
|
|
summary of anthems
|
anthems symbolize and enact the nation as a political unit
... but they are also "utterances," understood in different ways by different groups ... and so they often become a site of contest |
|
The Saengerfest
|
A Mennonite Festival; or representing Mennonite identity through language, music and religion
a Mennonite song-fest involving hymn and choral singing ... begins with a worship service which mainly features choral singing, often in German |
|
Kernlied
|
became a designation for songs that had become especially meaningful to Mennonites in Russia... a term that referred to any song that was highly valued in the churches.
|
|
High German
|
formal (standard) German, spoken by Russian Mennonites for church and, historically, for school
|
|
rollkuchen & rebeusen
|
food eaten at pinic after 1st concert for mennonites
|
|
: diaspora
|
has been used (without capitalization) to refer to any people or ethnic population) forced or induced to leave their traditional ethnic homelands, being dispersed throughout other parts of the world, and the ensuing developments in their dispersal and culture.
|
|
ethnic groups
|
those human groups that entertain a subjective belief in their common descent because of similarities of physical type or custom or both, or because of memories of colonization and migration; this belief must be important for the propagation of group formation; conversely it does not matter whether or not an objective blood relationship exists.
|
|
Symbolic ethnicity
|
a set of practices, which are largely expressive-cultural, which refer to the ``old country'' in a way which is both visible and comprehensible to third generation immigrants.
|
|
ethnicity exists socially through
|
maintaining boundaries
|
|
Ziffern
|
a new sol-fa notation system of numbers
|
|
In Ukraine, a singing tradition closely related to present-day North American Russian Mennonite singing emerged
|
the singing of four-part chorales and hymns, and the use of choirs in congregational singing.
|
|
waht happened to mennonites when they moved to canada
|
1890 and 1900, formed schools in Manitoba and Saskatchewan which maintained a choral singing tradition sang in low german tho
|
|
Low German
|
associated with the poorer and generally more rural Kanadier Mennonites
|
|
ethnicity
|
an imagined identity constructed on a myth of origin, rooted in history and diaspora
|