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Middle East
| Question | Answer |
|---|---|
| Middle East | refers to a geographic region spanning parts of southwest Asia and the northeast part of Africa. |
| The Oud | is a pear shaped Chordophone that is traditionally played with an Eagle Feather. |
| The Oud is a very versatile instrument which is often played by | a soloist or with other instruments providing rhythmic accompaniment. |
| The santoor | an chordophone that lies flat and has several bands of strings mounted across the top of a wooden sound board |
| The Santoor was brought to North India | by the Persian Mughals and is played throughout the Middle East and North India. |
| is a membranophone that is held under the arm and played with the hands and fingers allowing for a variety of sounds, making it an excellent instrument to accompany the Santoor | The tombek or doumbek |
| The doumbek | is a goblet shaped drum that gets its name from the two main kinds of sounds it makes: dum and tek |
| dum | a deeper sound, (created by striking the middle of the drum head) |
| tek | a sharper, higher sound(made by striking the side of the drum head) |
| The Daf | is a unique Persian frame drum that has a series of metal rings attached to the inside frame of the drum. |
| Many Middle Eastern musical traditions are related to(A Mode) | the Arabic maqam modal system. |
| The maqam modal system | is a system of grouping definite pitches into what are known as modes. |
| improvisation | The modal music systems (maqam, makam, or mugham) used in traditional Middle Eastern music form the basis for melodic |
| ornamentation | Many classical styles of Middle Eastern music use heavy |
| drone | Oftentimes, Middle Eastern music will be accompanied by a ______, which is a continuous or semi-continuous definite pitch. |
| There is typically little to no harmony with all instruments playing | variations of a melody or accompanying that melody by playing a drone. |
| The term "microtone" | is used to refer to definite pitch frequencies that lie in between the frequencies common to the 12-tone western tuning system. |
| A performance of Middle Eastern classical music often takes the form of a | musical suite |
| A waslah (WAH-slah) is a | musical suite, which is a musical form characterized by contrasting but connected sections. |
| There are around eight distinct sections in a waslah which are called | movements |
| In most waslahs | the movements are all unified by their reference to a single maqam (mode). |
| A taqasim | is an improvised solo in which one of the melodic instruments explores the maqam. |
| Taqasims are usually | nonmetrical, improvised, and often feature a drone that accompanies the melodic instrument. |
| Another type of waslah movement is called the | dulab |
| Dulabs are short instrumental movements that often | serve as an introduction to the maqam and help to set the mood by revealing the character of the mode. |
| Dulabs are metered | and have a pulse |
| Dulabs are composed in advance | and typically played by all members of the ensemble. |
| In the Arab world, rhythmic patterns are known as | iqa |
| A samai | is a composed musical movement that uses a specific type of asymetrical rhythmic pattern known as Iqa Thaqil |
| The History of Hindustani Classical Music | During the Persian Mughal rule of North India all forms of North Indian Music flourished, as the Persian Mughals were generous patrons of all the arts. |
| The Mughals financially supported the lives of | endless musicians and artists of the highest caliber. |
| These musicians incorporated what they discovered about | Persian Music into their own music, while performing to please their Persian patrons. |
| This period is considered(when the mughal musicians incorporated what they discovered about Persian music into their own music) | "The Golden Age of Hindustani Classical Music." |
| Raga | Melody in Indian Music comes from a mode (a small group of related pitches) with an emotional signature. |
| is a melodic framework in the Indian classical music tradition | A raga |
| These specifically chosen groups of pitches (in Indian Music) | are known in all Indian Music as Raga |
| Raga means 'color' | Just like each color has a unique hue, each raga has a unique sound. |
| Mode: specific pitches | used in a musical piece |
| To more easily identify the pitches of a raga mode | Indian musicians assign syllables to each pitch. |
| Arohana | ascending form of the mode. Sometimes, a pitch will be skipped on the way up. |
| Avarohana | descending form of the mode, which may not be the same as the arohana. |
| Vadi | an important pitch that the performer plays or sings more frequently than other pitches. |
| Samvadi | a secondarily important pitch that is also favored by the performer. |
| Pakar | mini-melodies that define the raga |
| Ornamentation occurs when extra pitches or flourishes | are added to a basic melody of the raga |
| Melisma | is a type of vocal ornamentation that involves holding out one syllable of text while changing the pitch |
| The Drone is a sustained pitch or set | of pitches |
| Drones provide a sonic foundation and function | as a continuous point of reference for the music. |
| Pitches of the Raga can sound in | consonance or dissonance against the drone. |
| The musical term for rhythm in Indian Music is | Tala |
| Each tala cycle has a heavy or emphasized beat, which | is the first beat in the cycle. This is called the sam. |
| Tala cycles also have an empty beat, which | is called the khali |
| the 16-beat cycle known as teentaal | is divided into 4 groups of 4 + 4 + 4 + 4. |
| Indian classical music | follows a musical form of distinct but connected sections that are improvised by the performer(s). |
| The opening section(of indian classical music) is called the alap | a non-pulsatile & non-metrical introductory segment. |
| The alap begins with the drone, followed by | the melodic instrument which slowly explores the nuances of the raga through improvising around the chalan. |
| The gat section | is marked by the entrance of the tabla, making the music firmly pulsatile and bringing out the tala, the metered rhythm of the piece. |
| Often, part of the climax features a section called saval-javab | in which the melodic instrument (sitar, sarod, flute, voice) and drum (tabla) have a musical “conversation” with each other, informally switching back and forth. |
Created by:
MathMatt
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