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Mus 006
Final exam for Music around the world
| Question | Answer |
|---|---|
| Otherness | The fact that there are differences between cultures. The uniqueness of cultures. |
| Hawai’i | Northernmost archipelago (chain of islands) of Polynesia state of the US and home of the Tau Moe Family. Known for Ukulele and vibrato style of steel guitar in Hawaiian music. |
| Polynesia | Collection of more than 4000 islands in the Pacific Ocean. |
| The Tau Moe Family | Hawaiian music group who played throughout the world for more than 50 years. Eventually would split into separate ensembles. They were the face of Hawaiian music and island life of the time and spread awareness of the genre throughout the world. |
| Ukulele | Resembles small guitar with 4 strings and descended from Portuguese braguinha. small chordophone. |
| steel guitar | Guitar played with techniques similar to the Indian zithers such as vibrato, also “palm harmonics” or chimes and played with plectra on fingers. Guitar lays flat on the musicians lap or on a horizontal stand. |
| Glissando | Musical gesture which entails sliding from one pitch to another. |
| Tremolo | Musical trembling/waving effect |
| Yodeling | Any fluctuating in the voice while singing. |
| Gamelan | Large Indonesian ensemble consisting mainly of metallophones |
| Gamelan Gong Kebyar | Gamelan originating in Bali in the first 2 decades of the 20th century and characterized by sudden, intense bursts of sound and discontinuity in structure. Also known for shimmering sound and interlocking parts. |
| Gong Anklung | bamboo tubes |
| Gong Lanang | Higher pitched "Male" gong. |
| Gong Wadon | Bigger, lower pitched "female" gong. |
| Gangsa | Metallophones (bronze plates hit by hammers and set on wooden platforms). Consisting of small instruments (create melody and played with wooden hammers) and large instruments (used to create bass line and played with mallet) |
| Suling | Bamboo flutes in Balinese gamelan |
| Rabab | Bowed fiddle used in Balinese gamelan |
| Shimmer Effect | - each instrument are tuned to eachother, but not the same exact pitch. |
| I Nyoman Windha | (1956) Balinese composer |
| Evan Ziporyn | (1959) composer from the U.S. ;; composes songs for the gamelan |
| Shashmaqam | Uzbekistani organization of music. Suite style organization. Means 6 maqams Qyl-Qobyz |
| Qyl-Qobyz | Hair instrument played by the nomadic people Kazakhs. Played for Gods and nature worship. Used in shamanic rituals (Animism) -stringed fiddle |
| Pipa | Derived from Central Asian lutes that made it to China through the Silk Road. Plucked Lute with 4 strings. |
| Wu Man | Musician who plays the 4-stringed Pipa (Chinese plucked lute). Also a contributor to the Silk Road Project. |
| Bhangra | Types of dance: Ceremonial/ritual, classical, social, competitive From India (Punjab) - Men’s dance - quadruple meter |
| Giddha | Women’s Danc |
| Desi | Descendants of those from Punjab, India that end up in other parts of the world. Basically a Punjabi diaspora. Children of those who migrated from Punjab. |
| Jhummar | Bhangra dance. Replicate agricultural work |
| Dhol | Double-headed drum played with two sticks on both sides, play rhythmic patters called “Bolis” |
| Algoza | Double flute used in banghra |
| Polka | popular dance in double (duple) meter (1 and 2 and). couples dance developed in urban dance, United states and Mexico. First appearered in the city of Prague (Czech Republic). Spread to the United States (midwest and texas). late 19th cent. |
| Valerio Longoria | Added Drum set, Sonido Ronco, Bandaneon to Conjunto. |
| Bandoneon | Button accordion used in the tango -plays an essential role in the orquesta tipica, the tango or |
| Carlos Gardel | Tango singer, was a lower class citizen. sang “La Cumparsita” (tango SONG version, listening guide 63) |
| Astor Piazzolla | Pioneer of “new tango”, which is tango for listeners. “Adios Nonino” (listening guide 64) |
| Rudolph Valentino | An actor in the early silent films made famous from performing tango in one movie. Career took off from there. Introduced a very aggressive style of tango via inducing submission on the part of the woman. “The Four Horsemen of the Apocalypse” (1921) |
| Lhasa | administrative capital of Tibet Autonomous Region |
| Mandala | disticntive tibetan chant vocal style. Performing chant moves singer to a transformed state. Fundamental + Harmonics. Timber of technique |
| Midzo Voice | disticntive tibetan chant vocal style. Performing chant moves singer to a transformed state. Fundamental + Harmonics. Timber of technique |
| Rol Mo | The accompanied several instruments (alternates) Vocal sections alternating with instrumental sections |
| Dung Chen | Long metal trumpet in Tibetan music Very loud and brass |
| Mahakala | Part of a ceremonial dedicated to god, Wrathful force, protector representative of the aspects around us |
| Sadhana | Ritual meditation text, that evokes the deity and helps connect to him. |
| Arawak | ndigenous people of Cuba The Arawak are the natives of the West Indies (Cuba, Jamaica, etc) discovered by Christopher Columbus. |
| Santeria | Religous practice that emerged from the Yoruba Spanish community. |
| Santero/Santera | every santero/a has a patron orisha, relationship is established during their initiation. Each orisha represents a quality of nature and/ or human life, distinct personality |
| Syncretism: | combination of different religious and philosophical beliefs or practices. merging of different intellectual forms. Molding of culture and music. music deriving from other establish forms |
| Bata: | Drums: only come in set of three. Two headed drums. sacred, inseparable trio. of Iya, Ito’tele and Oko’nkolo. can create a total of six tones, and the tones correspond with the yoruba language |
| Iya | Mother drum (largest) Has bells on it called Chaworo’ (All the drums are shaped like an axe which is representative of the god Chongo) |
| Itotele | Middle sized drum |
| Okonkolo: | smallest drum |
| Chaworo: | Bells attached to the Iya’ Drum |
| Yoruba | Language spoken (other two are spanish and vocables) |
| Chango: | od of thunder, Lightning, and Battle. Often associated with Red, and holds a battle axe Santeria orisha who is addressed in Listening Guide 66 |
| Toques | A Santeria rhythmic pattern incorporated Santeria liturgy, each associated with a different orisha |
| Kebaro | Ethiopian double-headed conical membranophone. |
| Ge’ez | The Ethiopian Christian liturgical language. Also is part of the Holy Trinity as God the Father. |
| Dabtara | Ethiopean church musicians who are also scribes and healers. |
| Public Transcript | Open musical displays of power. Affirms existing power structures. National anthems |
| Hidden Transcript | Musical performances and repetories that embed messages through metaphorical or coded terms. Often express dissent (but not always) Protest songs |
| Pretoria | City located in South Africa |
| Bantu Languages | Languages spoken by the Xhosa, Zulu, and Sesotho in South Africa |
| Apartheid | 1948- Laws passed to keep blacks and whites separate in South Africa, means "separate-ness" |
| Townships | 1948- Laws passed to keep blacks and whites separate in South Africa, means "separate-ness" |
| Townships | Small towns created for the blacks of South Africa to live in 1950 orchestrated by the European powers to further disenfranchise native Africans. |
| African National Congre | Political party in South Africa which fought for black rights and has been the ruling party since the end of the apartheid |
| Enoch Mankayi Sontonga | Black choirmaster and composer in South Africa, wrote ‘Nkosi Sikelel' iAfrika in 1897 (listening guide 70, protest song) (listening guide 71, revision of protest song with euro lyrics) |
| Nelson Mandela | Leader of the ANC, spent majority of his time in prison as a political prisoner until his release, later became first president of South Africa |
| Vuyisile Mini | Composer, Singer of freedom songs and one of the first member of the ANC to be executed in 1964 by the South African government |
| Rastafari | Religious movement from Jamaica whose adherents venerate the Ethiopian emperor Haile Selassie (Ras Tafari) |
| Haile Selassie | Ethiopian emperor who seemingly fulfilled Jamaican prophesy as a savior and inspired Rastafari by resisting “Babylon” (Perhaps, his name was Ras Tafari before he became emperor?) |
| Jah | Rastafari word for God |
| Babylon | Rastafari name for white colonial powers |
| Ska | Predecessor of reggae, based on an indigenous Jamaican rhythm, emphasized the off-beats in quadruple rhythmic pattern |
| Reggae | Urban Jamaican popular music that originated among the Rastafarians of Jamaica in the 1960s. Upbeat, carefree. |
| Peter Tosh | Reggae singer and member of the band The Wailers. Added political content such as gang, poverty, joblessness. |
| Bob Marley | Famous reggae singer, helped popularize reggae internationally, member of The Wailers |
| Shoshone | A Great Basin people who migrated to the Plains |
| Invention of Tradition | Newly invented cultural forms without reference to historical realities. No real bases in historical reality. Constructed. No less significant in the community that uses them, doesnt have to have bases, for it to be meaningful within the community. |
| Iran: | Settled by Iranian tribes from central asain ato least 4000 years ago. Persian empire (approx. 625 BCE- 7th century CE) persia becomes Iran. Shah reza Pahlavi comes to power. The Iranian Revolution renamed the to the Islamic republic of Iran. |
| Tombak | Goblet shaped Hand drum |
| Ney: | means “reed” (reed broken from swamps). End Blown Flute, Mouth hole carved with a sloped edge often covered with brass. Strong emotional, and spiritual associations. |
| Isfahan Technique | used in classical persian music playing the Ney. Creates a breathy sound (timbre), humming effect when the player grits his teeth against the instrument by the blowing end |
| Dastgah: | System of modes (scales) and melodic organization. Different categories of meoldy. Classical form of persian traditional music. organized into a suite structure, lots of pieces and preformed in a set order. (all the pieces are in a single Dastgah) |
| Gushe | Each individual melody in a Dastgah |
| Mowlana Jalaleddin Rum | The nay is a symbol of the souls longing to be reunited with the divine. Sufism (branch of Islam) Belief that you can directly experience the divine through song and dance; he captured the sound of the ney and articulated it with spirituality |
| Reza Vali | Persian composer of Flute Concerto (listening guide 77) who studied western classic european music. played two instruments the trombone and trumpet. got his PHD at Pittsburg. Combined with western music. (musical borrowing) |
| Homayoun: | Improvisation, player starts at the low end of the notes, and works toward the top of the range. |
| Darabukkah | Hand drum shaped like a goblet |
Created by:
kpool001
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