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Midterm 2
MUSC 1250
| Question | Answer |
|---|---|
| Forced migration example | African Slave Trade or refugees fleeing war |
| Voluntary migration example | Chinese immigrants moving to California for the Gold Rush |
| Diaspora | An immigrant community scattered away from their homeland that keeps a strong cultural connection to it |
| Jinshan ("Gold Mountain") | The nickname Chinese immigrants gave to California/U.S. during the mid-to-late 1800s |
| Reason Chinese came to U.S. in 1800s | To escape poverty at home and strike it rich during the California Gold Rush |
| Muyu or Muk'yu | A traditional Chinese vocal genre featuring narrative songs about history, myths, or immigration struggles |
| Sheung Chi Ng (Uncle Ng) | A famous Chinese immigrant celebrated for singing muyu about his journey to America |
| Common sentiment in Uncle Ng's muyu text | The desire to become prosperous in America and eventually return home to China |
| Vocables | Meaningless syllables like "la la la" used by singers for rhythmic or emotional effect |
| Melisma or melismatic singing | Singing multiple notes or musical ornaments on just one single syllable of text |
| Syllabic singing | A text setting where each single syllable of text gets exactly one note |
| Middle Eastern scales vs Western scales | Middle Eastern scales feature microtones or quarter-tones that fall between the keys of a Western piano |
| Mawwal | A traditional Arab vocal genre featuring emotional, free-rhythm non-metrical improvisation over a poetic text |
| Hanan Harouni | A famous Lebanese diaspora singer in New York known for singing emotional songs about leaving home |
| Maqam | The overall modal system or melodic framework used in Middle Eastern music to build melodies |
| Maqam Huzam | A specific Middle Eastern mode that is highly recognizable because it begins with a quarter-tone on the first note |
| Maqam Nahawand attractiveness to Syrian Jews | It sounds very similar to the Western minor scale, making it memorable in the New World |
| Ud (Oud) | A pear-shaped, plucked string instrument with a short neck and a round back popular in Arab music |
| Qanun | A flat, trapezoid-shaped Middle Eastern string instrument plucked on the player's lap or a table |
| Field Holler | An emotional, unmetered solo song sung by enslaved African laborers to vent or pass messages |
| Spiritual | A religious folk song created by enslaved African Americans converting to New World Christianity |
| Written notation limitation for spirituals | It could not convey the singers' distinctive vocal styles or subtle variations in intonation and pitch |
| Transformation of spirituals in late 19th century | They were transmitted wider and arranged into four-part European classical choral styles |
| William Francis Allen | A musicologist who co-published Slave Songs of the United States, the first printed spiritual collection |
| Call-and-Response Style | A vocal style where a soloist and a chorus interact by singing alternating lines of melody |
| Huddie Ledbetter "Leadbelly" | A legendary African-American folk and blues musician famous for his 12-string guitar skills |
| Paul Robeson | A famous bass-baritone concert singer and activist who elevated spirituals to elite concert stages |
| Factors that led to jazz | New Orleans melting pot of blues, ragtime, marching bands, African rhythms, and Creole cultures |
| Syncopation | Accenting a beat or a note in the music that is normally weak or unexpected |
| Louis Armstrong | The founding father of jazz who popularized scat singing and played the cornet and trumpet |
| Alan Lomax | A famous ethnomusicologist who recorded thousands of hours of raw folk, blues, and jazz musicians |
| Jubilee Singers of Fisk University | An African-American a cappella group that toured globally to raise money for their school |
| Funded schools for former slaves after Civil War | The Freedmen's Bureau |
| Charity Jubilee Singers donated first profits to | The victims of the Great Chicago Fire of 1871 |
| British royalty the Jubilee Singers performed for | Queen Victoria of England |
| Scott Joplin | The "King of Ragtime" famous for composing pieces like Maple Leaf Rag |
| Ragtime | Late 1890s piano music with a steady marching bass and a highly syncopated melody |
| To "rag" in music | To take a straight, standard melody and shift its rhythms to make it syncopated |
| Da vu | Meaning "night dance"—large musical variety shows popular in Vietnamese diaspora communities |
| Ca Hue | A refined, classical chamber music ensemble style from central Vietnam |
| Dan Bau | A unique Vietnamese one-stringed zither played by plucking while moving a flexible bamboo rod to bend pitch |
| Dan Nguyet | A traditional Vietnamese two-stringed lute with a round, moon-shaped wooden body |
| Phach | The time period of one beat marked by a bamboo block in Vietnamese chamber music |
| Tan Nhac | Modern Vietnamese popular music combining Western instruments with Vietnamese lyrics and folk melodies |
| Song cycle | A collection of poems or songs designed to be performed together in sequence to tell a story |
| Pham Duy | Vietnam's most famous modern composer whose music was banned due to its focus on war and exile |
| Style of Pham Duy's National Road cycle | It draws upon several streams of musical influence like folk songs and lullabies |
| Significance of National Road cycle to diaspora | It arouses deep nostalgia by recreating the sounds and texts of traditional music |
| What made a song "Vietnamese" in refugee camps | The requirement that the song must have a Vietnamese text or lyrics |
| Why Vietnamese refugees sang sad love songs | To express the community's immense feelings of loss for those who died at sea |
| Tet | The massive Vietnamese Lunar New Year celebration honoring spring and family ancestors |
| Ru | A traditional Vietnamese vocal lullaby |
| Ho | A traditional Vietnamese work song used to coordinate labor through call-and-response |
| Corrido | A traditional Mexican narrative ballad song that tells a true story about history or heroes |
| Intercultural conflict that shaped the corrido | The historical conflict between border Mexicans and Anglo-Americans |
| Gregorio Cortez | A Mexican border man immortalized in a hero corrido for defending his rights against a Texas sheriff |
| Hero Corrido | A Mexican ballad that portrays larger-than-life figures fighting against injustice |
| Narco Corrido | A Mexican ballad focusing on drug trafficking and the criminal underworld |
| Revolutionary Corrido | A Mexican ballad focusing on battles and historical figures of the Mexican Revolution |
| Strophic form | A song structure where the music stays exactly the same for every verse while the words change |
| Jazz funeral | A New Orleans tracking tradition blending slow, mournful mourning with a joyous celebration of life |
| New Orleans Jazz Band instrument lineup | Trumpets, trombones, clarinets, saxophones, violin, string bass, snare, and bass drums |
| Music played by jazz bands after leaving the gravesite | Lively, celebratory music to rejoice that the soul is free |
| Changes that mark the jazz funeral transition | Shifting to faster tempos, tightening the snare drum, and improvising for dancing |
| Second Liners | The crowd of everyday people who follow behind the official jazz band and mourners to dance |
| Dirge | A slow, somber, mourning hymn performed during a jazz funeral on the way to the cemetery |
| Pizmon | A Hebrew word meaning "praise" or "adoration" referring to Jewish hymns set to secular Arab melodies |
| Contrafactum or Contrafacta | A song created by setting completely new words or texts to a pre-existing melody |
| Ironic aspect of pizmonim today | They unite sacred Hebrew texts with Arab melodies despite modern Arab-Israeli conflicts |
| Tetrachord | A musical scale block consisting of four consecutive notes used to build Middle Eastern scales |
| Layali | An unmetered vocal improvisation on filler words used to establish the maqam mode before a song |
| Sebet | A Sabbath afternoon songfest for Syrian Jews featuring a cappella singing, feasts, and no instruments |
| Haflah | A festive community party held on non-Sabbath nights featuring food, live bands, and pizmonim singing |
| How haflah enhances musical memory | By gathering the entire Syrian Jewish community to sing pizmonim together |
| Pizmon adaptation as the community spread | Melodies for new hymns are sometimes drawn from music traditions in their new homelands |
| How Syrian Jews link music to other senses | They sing during festive meals and relate the maqamat modes to the flavors of food |
| Why Louis Massry borrowed "The Wheat Song" melody | It was catchy and carried beautiful memories of Middle Eastern life for his community |
| Traits shared by Gregorio Cortez and Mifalot Elohim | Both are strophic, written in the early 1900s, and feature a triple meter waltz rhythm |
| Panoramic view | Looking at a culture or music style from the outside with a wide, sweeping perspective |
| Panoptic view | Looking down at a culture from a position of total observation or control |
| Steel lap guitar | A guitar played flat on the lap using a metal bar to slide between notes for a Hawaiian sound |
| Tao Moe family | A legendary musical family group that toured the world popularizing Hawaiian music and hula |
| Impresario | An entertainment manager, producer, or promoter who organizes and finances concert tours |
| Felix Mendelssohn (Impresario) | A prominent British promoter who managed the Tao Moe family and spread Hawaiian music globally |
| Ukulele | A tiny four-stringed Hawaiian instrument whose name translates literally to "jumping flea" |
| Gamelan | The traditional percussion orchestra of Indonesia consisting mostly of gongs and metallophones |
| Gong Kebyar | A modern style of Balinese gamelan music known for being explosive, lightning-fast, and flashy |
| Evan Ziporyn and I Nyoman Windha piece | They collaborated on Kekembangan, blending Balinese gamelan with a Western saxophone quartet |
| Kembang and Pencak | Kembang means flower (dance abstraction) and Pencak is a traditional Indonesian martial art |
| Silk Road Project mission | A collaborative effort to bring Eastern and Western musicians and instruments together |
| Founder of the Silk Road Project | World-famous cellist Yo-Yo Ma |
| Silk Road Ensemble goal | A traveling global band that performs cross-cultural musical collaborations |
| Pipa | A traditional four-stringed, pear-shaped Chinese lute that is held vertically and plucked |
| Wu Man | A world-renowned master virtuoso of the pipa who performs with the Silk Road Ensemble |
| How Wu Man ended up playing the pipa | Her parents chose the instrument for her as a child and she had no choice |
| Heterophonic texture | Music where two or more parts play the same basic melody at the same time but with slight variations |
| Ng Bak Loi Gimsaan | A raw, unaccompanied, crying solo muyu song sung by Uncle Ng about traveling to Gold Mountain |
| Wakef'ala shat baher | An Arabic diaspora song by Hanan Harouni featuring an ud, qanun, and themes of displacement |
| Nobody Knows the Trouble I’ve Seen (Leadbelly) | A fast, raw, gritty black spiritual version accompanied by acoustic folk guitar |
| Nobody Knows the Trouble I’ve Seen (Robeson) | A slow, deep, booming operatic black spiritual version accompanied by concert piano |
| Who is Walking on the Endless Road | A melancholic Vietnamese Tan Nhac song by Pham Duy about wandering refugees |
| Attah El Kabbir | A sacred Syrian Jewish pizmon featuring a free vocal layali introduction and an ud |
| Mifalot Elohim | A Syrian Jewish pizmon prayer that sets Hebrew words to a borrowed Western classical/carol melody |
| Samoan Moon | A classic Hawaiian track featuring yodeling vocals and sliding steel lap guitar work |
| Kekembangan | A fusion track featuring the metallic clanging of Balinese gamelan mixed with a Western saxophone quartet |
| Xiao Yue Er Gao | A bright, virtuosic solo instrumental showcase tracking rapid plucking on the Chinese pipa |
| Mido Mountain | An upbeat global jam track by the Silk Road Ensemble blending cello, pipa, tabla, and woodwinds |
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