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