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Ethnomusicology
Spring 05- Ethnomusicology
| WORDS | DEFINITIONS |
|---|---|
| CHANGES IN ETHNIC MUSIC N.AMERICA | MODERNIZATION & CHANGE//STRENGTHENS COMMUNITY TIES/ LINK TO THE PAST/ WORLD MUSICQ |
| PAWN SHOP AS METAPHOR FOR ETHNIC MUSIC MAKING & INSTRUMENTS | SOME MUSIC ADOPTED IN DIVERSE GENRES, SOMEONE BEFORE YOU HAD A MEANING ASSOCIATED WITH IT, NOW YOU'RE CREATING A NEW MEANING |
| SALSA | MIXED GENRE, CREATED IN THE US BY DIVERSE MUSICIANS PRIMARILY LATINO, IN NY |
| KHOI-KHOI | CAPE TOWN |
| 2 GENDER SYSTEM (bem) | GENDER IS POLARIZED IN ORDER TO INCLUDE TWO CATEGORIES, MALE AND FEMALE. HOMOS, TRANS-GENDERED ETC ARE NOT RECOGNIZED BC THEY DONT FALL WITHIN THE 2 CATEGORIES |
| ACCULTURATION | THE PROCESS OF MODIFICATION OF AN INDIVIDUAL OR GROUP MIXING A SECOND OR MORE CULTURES TO THEIR ORIGINAL BIRTH CULTURE. MOST OFTEN APPLIED IN IMIGRANT COMMUNITIES |
| ADAPTATION | ADJUSTMENT OR MODIFICATION EX. OMPOSITION WRITTEN INTO A NEW FORM |
| AESTHETICS | QIN- PERCEPTION OF WHAT'S BEAUTIFUL , ANTIQUITY, ANIMAL, COSMOS |
| AMALGAMATION | PROCESS OF COMBINING SEPERATE, DISTINCT ELEMENTS INTO A NEW ENTITY: STILL RETAINS SEPERATE ENTITIES WHILE COMING TOGETHER |
| AMATEUR/PROFESSIONAL | CHINA QIN- AM. MORE VALUED THAN PROFESSIONAL |
| ANTIQUITY | ANCIENT TIMES-CHINA: THE INSTRUMENT EMBODYING HISTORY, SYMBOLS OF IDENTITY, ESSENCE AND THE NATION |
| APPROPRIATION | TAKE SOMETHING FROM A DIFFERENT CULTURE AND USE IT IN YOUR OWN STUFF |
| ASSIMILATION | TO MAKE SIMILAR, TO ABSORB INTO A CULTURE BY CONFORMING TO THE ALREADY EXISTING ENVIRONMENT |
| CANDOMBLE | RITUAL PERFORMANCE IN AFRICAN RELIGION |
| CANTO-POP | POPULAR MUSIC STYLE OF CHINA WITH ROOTS FROM HONG KONG USNG THE CANTONESE DIALIECT |
| CCM | TRANSFORMATIONAL, SEPERATIONAL, INTERGRATIONAL: EVANGELICAL CHRISTIAN POPULAR MUSIC |
| CENTS SYSTEM | AJ ELLIS A CROSS CULTURAL MEASURES OF MUSICAL PITCH, 1/100 SEMITONE OR 1/1200 OCTAVE |
| CLAVE | 2 ROUND POLISHED HARDWOOD STICKS USED IN A PERCUSSION INSTRUMENT NI SON AND SALSA |
| COLONIALISM | CULTURAL PATH, ONE CULTURE COLONIZES ANOTHER |
| COLOTOMY | INDONESIA- STRUCTURE OF GAMELAN DETERMINED BY THE TOTAL # OF BEATS AND WHICH INSTRUMENTS SOUNDED THOSE BEATS |
| COUNTER CULTURE | A GROUP WHICH RESISTS THE HEGEMONIC TENDENCIES OF MAINSTREAM SOCIETY, ESPECIALLY MATERIALISM (HOWARD); HISTORICALLY, OFTEN APPLIED TO POPULAR MUSIC COMMUNITIES EX. HIPPY COUNTERCULTURE |
| CUBAN SON | AN AFRO-CUBAN DANCE SONG GENRE HAVING TWO SECTIONS, STROPHIC VERSE SECTION & THE MONTUNO CALL-AD-RESPONSE SECTION |
| DANWEI | "WORK UNIT" THE BASIC LEVEL ORGANIZATION THROUGH WHICH PARTY AND GOV'T OFFICIALS CONTROL SOCIAL, POLITICAL AND ECONOMIC BEHAVIORS OF RESIDENTS, APPROVED BY GO'VT, THEY'RE PRAISING THE GOV'T IN A WAY |
| DISAPORA | USED TO REFER TO AY PEOPLE OR ETHNIC POPULATION WHO FORCED OR INDUCED TO LEAVE THEIR TRADITIONAL ETHNIC HOMELANDS, BEING DISPERSED THROUGHOUT OTHER PARTS OF THE WORLD AND THE ENSUING DEVELOPMENTS IN THEIR DISPERSAL AN CULTURE |
| DISCOURSE (BURR) | A SYSTEMATIC, COHERENT SET OF IMAGES AND METAPHORS THAT CONSTRUCT AN OBJECT IN A PARTICULAR WAY. ALSO REFERS TO THE SPOKEN INTERCHANGES BETWEEN PEOPLE |
| EMIC | UNDERSTANDINGS IN TERMS OF THE INSIDERS OF A CULTURE; LITERALLY RELATED TO THE UNIT OF MEANING |
| ETIC | UNDERSTANDINGS AND TERMS HELD BY THE OUTSIDERS TO A CULTURE, LITERALLY RELATED TO THE IDEA OF A UNIT OF SOUND |
| ETHNICITY (AMERICAN HERITAGE DICTIONARY) | A SOCIAL GROUP WITHIN A CULTURE AND SOCIAL SYSTEM THAT CLAIMS OR IS ACCORDED SPECIAL STATUS ON BASIS OF COMPLEX, VARIABLE TRAITS, INCLUDING RELIGION, LINGUISTIC, PHYSICAL CHARACTERISTICS... |
| ETHNICITY- BARTH | CHARACTERISTICS OF AN ETHNIC GROUP ARE MAINTAINED NOT THOUGH ESSENCE BUT THROUGH SOCIAL PRESSURES OF BOUNDRY MAINTENANCE |
| ETHNICITY- WEBER | ETHNIC GROUPS THOSE HUMAN GROUPS THAT ENTERTAIN A SUBJECTIVE BELIEF IN THEIR COMMON DESCENT BECAUSE OF SIMILARITIES OF THE PHYSICAL TYPE OR CUSTOM OR BOTH, OR BEAUSE OF MEMORIES OF COLONIZATION AND MIGRATION; THIS BELIEF MUST BE IMPORTANT FOR THE PROPOGAT |
| fLASH BULB MEMORY | A VIVID RECALL OF TRAUMATIC OR OVERSTIMULATING (SENSUAL) EVENT WHICH IS REPLAYED CONSTANTLY AND WHICH FORMS THE FOUNDATION OF NEW IDENTITY |
| GHOST DANCE | N.AMERICAN INDIAN-- RELIGIOUS MOVEMENT OF PROTEST AGAINST US GOV'T INTHE 1880 |
| GUITARRON | LATIN MUSIC- A LARGE ACOUSTIC BASS GUITAR WITH A CONVEX BACK |
| HINDUSANTI | N. INDIAN MUSIC KHYAL VOCAL MUSIC INFLUENCES INSTRUMENTAL MUSIC |
| KARNATAK | S. INDIAN MUSIC. VOCAL MUSIC REPRODUCED IN INSTRUMENTAL MUSIC- KUTI |
| HOMOLOGY | INDICATES A SMILIARITY BETWEEN AN EXPRESSIVE CULTURAL PRACTICE AND AN ASPECT OF SOCIAL STRUCTURE |
| HYBRIDITY | THE IDEA, FROM CULTURAL STUDIES, THAT CULTURES AND CULTURAL PRACTICES ARE ALWAYS ALREADY MIXTURES |
| HYMN | A SONG OF PRAISE TO A DIETY, IN TERMS OF CHRISTIAN PRACTIVES, A COMMUNALLY SUNG SONG OF PRAISE TO GOD, AND IN THE PRODESTANT TRADITION ITS SUNG DURING THE WORSHIP SERVICE, USUALLY OF SLOW TEMPO AND REGULAR METER USUALLY WRITTEN IN 4 PARTS |
| HYMNODY | THE SINGING/SOMPOSITION/WRITING OF HYMNS |
| INTERNATIONALE | FAMOUS REVOLUTIONARY SONG- INSPIRED BY CHINESE NATIONAL ANTHEM CALLED FOR THE OPPRESSED PEOPLE TO RISE!!! |
| JOHN KNOX BOEK | BLACK AFRICAN COMPOSER- COMBINED TRADITIONAL MELODY AND XOSHA INFLUENCES WITH 4 PART HARMONY AND DIATONIC TRIADS OF EUROPEAN CHRISTIANITY HYMNODY |
| KERNLIEDER | A SONG MEANINGFUL TO RUSSIAN MENNONITES, HIGHLY ALUED IN CHURCHES |
| KLEZMER | JEWISH INSTRUMENTAL ENSAMBLES THAT PERFORMED, OFTEN PROFESSIONALY, FOR BOTH JEWISH AND NON-JEWISH SOCIAL FUNCTIONS |
| LIMINALITY | MARGINALITY- IN-BETWEENESS, USED IN SOCIAL SCIENCES TO DESCRIBE INTERMEDIATE SOCIAL PHASES, OFTEN OF CHANGE AND INSTABILITY |
| MANDO-POP | MUSICAL STYLE OF CHINA WITH ROOTS IN TAIWAN USING THE MANDARIN DIALIECT |
| MESTIZO | LATIN AMERICA- A RELATIVE CONCEPT OF REFERRING OT THE BLENDING OF EUROPEAN AND NATIVE AMERICAN CULTURAL HERITAGES ALSO USED AS A TERM OF ETHNIC IDENTITY |
| OORLAMS | SOCIAL CATEGORY TO WHICH PROFESSIONAL COLORED MUSICIANS WOULD MOSE LIKELY BELONG, PLAYED THE ROLE OF CULTURAL BROKERS COMBINING MUSICAL STYLES WITH URBAN ENVIRONMENTS |
| PEYOTE CHURCH | PEYOTE ORGANIZATION KNOWN AS A CHURCH , SONGS INCLUDE CHRISTIAN HYMNODY, SONGS END WITH AMENLIKE HENEYOWE |
| POST TRAUMATIC EVENTS | A HIGHLY STRESSFUL EVENT WHICH IS VIVIDLY AND CONSTANTLY REPLAYED IN THE PSYCHE RETURNING TO THE VICTIM TO THE TRAUMATIVE EVENT AGAIN AND AGAIN |
| PLAUTDIESTSH | LOW OR FLAT GERMAN, A COLOQUIAL GERMAN SPOKEN BY RUSSIAN MENNONITES AND OTHERS WHO TRACE SOME PART OF THEIR HISTORY TO PRUSSIA |
| POW WOW | N AMERICAN INDIAN- TRIBAL OR INTERTRIBAL GATHERING OF THE 20TH CENTURY - PRINCIPLE VALUE FOR PERFORMANCE OF TRADITIONAL AND MOTERNIZED MMUSIC AND DANCE |
| SACRED HARP | THE MOST POPULAR USED SHAPED-NOTE TUNEBOOK, ALSO THE MUSIC OF THIS TUNEBOOK. |
| SANGERFEST | A RUSSIAN MENNONITE SONG-FEST INVOLVING HYMN AND CHORAL SINGING - REINFORCES THE MENNONITE TRAIDTION |
| SALSA | CREATED BY LATINO MUSICIANS IN NY MIXING LATIN AMERICAN PERCUSSION AND JAZZ BIG BAND STYLES POPULAR IN THE 50S |
| SALSA | LITERALLY HOT SAUCE REFERS TO LATIN DANCE MUSIC USING GENRES INCLUDING CUBAN RUMBA, CHACHACHA, GUARACHA, MAMBO.... |
| SALSA DURA | HARD SALSA TRAITIONAL SALSA DERIVING FROM VARIOUS LATIN MUSIC FORMS USING SALSA/SON INSTRUMENTS (HORN SELECTION!) |
| SALSA ROMANTICA | ANGLO POP-INFLUENCED SALSA MUSIC POPULAR DURING THE 80S AND 0S; SOMETIMES IN ENGLISH OFTEN USISNG SYNTHESIZERS PROMINENTLY |
| SECOND HAND STORE | PAWN SHOP AS METAPHOR FOR ETHNIC MUSIC MAKING AND INSTRUMENTS |
| SECT | A RELIGIOUS GROUP WHICH IS UNSTABLE, USUALLY SEES ITSELF IN OPPOSITINO TO OR IN PROTEST OF ITS LARGER SOCAL MOVEMENT |
| SETTLER CULTURE | A SOCIETY COMPRISED LARGELY OF IMMIGRANT GROUPS HAVING DISPLACED OR COMPETED FOR LAND WITH AN INDIGENOUS POPULATION |
| SEX | BIOLOGICALLY CONSTRUCTED CATEGORIES OF MALE AND FEMALE |
| GENDER | ROLES PERSCRIBED BY CULTURE |
| SIKU | LATIN AMERICAN DOUBLE ROW ANDEAN PANPIPE, SIKURI REFERS TO THE ENSAMBLE AND THE SIKU PLAYER |
| SOCIAL SCRIPTS | MESSAGES IN THE CULTURE THAT ENABLE AND PROPOGATE NORMS RELATIVE TO THE WAY CULTURE MEMBERS SHOULD BEHEAVE |
| SONGS OF THE MASSES | chinese communist political songs |
| SYMBOLIC ETHNICITY | A SET OF PRACTICES WHICH ARE LARGELY EXPRESSIE-CULTURAL, WHICH REFER TO THE OLD COUNTRY WAY IN WHICH IS BOTH VISIBLE AND COMPREHENSIBLE TO THIRD GENERATION IMMIGRANTS. GANS ARGUES THAT IT IS PRIMARIALY SYMBOLIC PRACTICES, INCLUDIGN EXPRESSIVE CULTURE, |
| TAL | TIME/RHYTHM ELEMENTS IN INDIAN MUSIC` |
| TICKEY DRAAI | LITERALLY, TURN ON A 3PIECE, A CAPE STYLE OF DANCE MUSIC BASED ON AN AFRIKAANS FASTSTEP PERFECTED BY COULOURED MUSICIANS IN KIMBERLY |
| TIMBALES | TUNED HIGH-PITCHED DRUMS PLAYED WITH STICKS, USED IN SON AND SALSA |
| TONOMETRY | HARMONIZING NON-WESTERN MUSIC WIH WESTERN MUSIC ON A PIANO |
| TRAMA NEUROSIS | A HIGHLY STRESSFUL EVENT WHICH IS VIVIDLY AND CONSTANTLY REPLAYED IN THE PSYCHE RETURNING THE VICTIM TO THE TRAUMATIC EVENT AGAIN AND AGAIN |
| VIHULA | LATIN AMERICAN, MEXICO, A SMALL 5 STRING GUITAR VARIANT WITH A CONVEX BACK USED FOR PERCUSSIVE STRUMMING |
| VISION QUEST | AN INITIATION CEREMONY ONCE PRACTICED BY MANY PLAINS AREA NATIVE AMERICAN GROUPS, IN WHICH A CHILD IS ISOLATED AND RECEIVES A SONG INA DREAM |
| VOCABLES | NON-SEMEANTIC SYLLABLES THAT ARE SUNG "NONSENSE SYLLABLES" USED IN LEARNIGN MUSIC, USED IN INDIA |
Created by:
lheil
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