MUS 106 final exam
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| music and migration (1) | Music travels easily w/ migrating communities bc it is portable and can be transmitted orally
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| music and migration (2) | Some musical styles are maintained when groups migrate; others transformed or discarded
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| music and migration (3) | Music making can embody and reenact the migration process as well as commemorate the homeland left behind
-Ex. China/US and Uncle NG
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| music and memory (1) | Transmit memories of people, places and events
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| music and memory (2) | Commemorates people and events
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| music and memory (3) | Reconciles past with present
-Ex. Orange Blossom Special
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| music, mobility, and global marketplace (1) | Music helps sustain and enhance travel and tourism
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| music, mobility, and global marketplace (2) | New technologies and performance venues give rise to new musical vocab and hybrid musical styles
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| music, mobility, and global marketplace (3) | Economic and political forces shape the transmission of music
-Ex. Silk Road (African/Asian trade route)
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| music and dance (1) | Dance transforms a basic rhythm into a distinctive set of physical movements
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| music and dance (2) | Dance invites anyone to participate
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| music and dance (3) | Dance accommodates a wide variety of meanings, from recreational to political
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| music and dance (4) | Dance illustrates different views of gender and sexuality in diff societies
-Ex. Argentinan Tango, Czech Polka
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| music and ritual (1) | shapes and orders the rituals that celebrate belief
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| music and ritual (2) | enact and convey ritual’s symbolic power and meaning
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| music and ritual (3) | empower the participants
Ex. Greek Orthodox service; Buddhist chant
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| music and politics (1) | Music frequently used for symbolic communication in political contexts
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| music and politics (2) | music can covey official ideologies, as in national anthems
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| music and politics (3) | Music can convey what cannot be spoken publicly, giving voice to political resistance
-Ex. Kathy Mattea; “I love mountains”; coal mining and mountaintop removal
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| music and identity (1) | Music can signify many aspects of identity, including nationality, place, ethnicity, race, class, religion, and gender
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| music and identity (2) | constructs identities of individuals and groups
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| music and identity (3) | Text, melody, vocal style, instrumentation, and body motion contribute to the performance of identity
-Ex. Cajun/Zydeco Music; Ghanian music festival in Chicago
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| Bendu Jabati | served as the connection between Gullah Tribe and Sierra Leone; from Sierra Leone and was the woman who knew the song that was passed from Sierra Leone to Gullah
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| Queen Ida Guillory | -brother performed in band; came out as singer later in life
-originally pop because she played accordion and women usually only play piano or violin
-late 70’s started cookbooks named after albums
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| Paul Robeson | "Nobody Knows the Trouble I’ve Seen”
-classically trained voice
-civil rights activist
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| Huddie "Leadbelly" Ledbetter | “Nobody Knows the Trouble I’ve Seen”
-Blues singer; talented musician; jailed for murder
-songster = sang lots of different genres of music
-informal, rought, loose
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| Ari Sandel | director and co-writer of West Bank Story; won 2007 Oscar for Best Short film
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| Pete Seeger | folk singer, icon in the mid-20th century folk music revival - “This Land is Your Land”
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| Kathy Mattea | environmental activist/performer
West Virginia Mountains, against “Mountaintop Removal”
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| Jon Falcon | -first recorded Cajun song “Allons a Lafayette” with wife Cleoma
-accordion player
-covered Fats Waller's music in Cajun style “LuLu’s Back in Town”
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| Mary Moran | great-great granddaughter of the woman who first recorded the Gullah Song (Amelia Dawley)
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| Paul Simon | wrote and first performed contrafacta of Bach’s Chorale and put words to it called “American Tune” (covered by
Willie Nelson)
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| Cynthia Schmidt | ethnomusicologist involved in researching the Gullah/Sierra Leone relationship
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| ud | plucked stringed instrument (chordophone) used in Arab/Middle Eastern music
world; Developed into the lute
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| qanun | trapezoidal chordophone with 26 courses (sets) of 3 strings each - heterophonic texture
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| guqin | 7-stringed Chinese chordophone, sliding technique (Jiawen's presentation)
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| “Amazing Grace” at a funeral | *music as memory
*aunts funeral
*song evokes emotion/memory
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| “Autumn Leaves” at home | music at home on piano reminds of dad
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| “Orange Blossom Special” on the fiddle | music passed down from generations auditorally
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| Music at a football game | importance of Southern band tradition during fottball games; often more important than the game itself
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| “Down By the Riverside” at the gospel celebration How Sweet the Sound | *importance of Gospel to culture
*songs evoke emotions
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| The Non-Silicon Radio Show (Hip-Life) | *modernizing traditional languages with rap
*remembrance of home
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| Backstage at the Youth Symphony | *connecting to orchestra although she couldn’t play it
*behind the scenes
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| Music and Migration b/n China and the U.S | Uncle Ng; America not leading up to expectations “the Golden Mountain”
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| Steel band and the sounds of the U.S. Virgin Islands | steel band reminds her of home
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| Nursery Rhymes | music paired with education
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| Wicked at the Gershwin/Wicked at the Fox | differences between the same show in different places
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| The sound of djent | clear melodies and notes but simultaneous different rhythms
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| the ASO | *not having to choose between sports and music
*connections between them
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| Music and memory: “Red Star Morning Lilies” | *written during Communist China
*did not know history of piece but really enjoyed it
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| The Eduardo Tami Trio: a tango concert | expectations about Tango; less sexy and slower than expected
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| Memphis: the musical | enjoyable but facts about city were wrong
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| Dubstep | *Bassnectar, Pretty Lights concert
*different distortions (wub wub bass)
*“bass drop”
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| Music and communication: the film August Rush | music as a form of communication between people
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| The Dunwoody Chamber Ensemble: Carmen suite | violin sounds like human voice
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| The Ghanaian culture festival in Chicago | learning about different tribes’ music and culture
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| Java Monkey/Blind Willie’s | different gig settings; music as background vs showcase
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| Greek Orthodox worship | *ancient style
*expected participation
*blending of different cultures/languages
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| Diaspora | the movement, migration, or scattering of people away from an established or ancestral homeland -Ex. African slaves
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| Bi-musicality | Proficiency in two different musical traditions
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| voluntary migration | movement of people into a new region by choice, motivated by an attraction to the new locale
-Ex. Chinese migration to the “Gold Mountain” during mid-1800’s
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| forced migration | not a choice move
-ex. Slave trade to the states
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| spirituals | A genre of songs, usually with verses and a refrain, which emerged from the musical expression of slaves converted to New World Christianity
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| maqam | Middle eastern “scale”; notes played in certain patterns and ornamented
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| iqa | middle eastern rhythm/duration
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| khanah | overture and 4 parts (khanat); each separated by a refrain
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| pizmon (pizmonim) | Contrafactum using sacred Hebrew texts set to popular melodies (Syrian Jews)
-Ex. Mifalot Elohim (sounds like Oh Christmas Tree aka O’Tannenbaum)
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| zydeco | "the beans are not salty" - les haricots
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| maqam nawahand | Became popular after Syrian Jews migrated to the new world because it sounds similar to the minor scale of Western music
-Ex. Attah El Kabbir (song)
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| layali | "oh night" - improvised vocal opening that establishes the maqam - "Attah El Kabbir"
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| muwashshah | A classical Arab vocal form marked by a regular rhythm and rhyme scheme and a three-part form
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| muyu | A genre of traditional Chinese vocal music whose texts deal with the concerns of everyday life, performed by men or women in public or private. Also spelled as muk’yu
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| structural meaning | theoretical meaning
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| mode of relationship to the experience | Focused attention (orchestra setting), unfocused attention (background music), or participation: (dancing, worship, musician)
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| medium | how the sound is produced is significant
examples: Mariachi band, dubstep
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| intentionality | musicians/audience in sync
-Ex. Tango musicians playing for dancers
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| Joe Opala | anthropologist involved in researching the Gullah/Sierra Leone relationship
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| Tazieff Karoma | linguist involved in researching the Gullah/Sierra Leone relationship
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| Bance Island | island off of Sierra Leone; major slave trading hub
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| Tenjami | literally "crossing the water" - funeral ritual of Sierra Leone
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