Final Exam Music Note Sheet PDF

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Introduction to Musics of the World – Final Exam Note Sheet Ethnomusicology The study of music in the context of human life Within the purview of ethnomusicologists, we have: non-western musics, western musics, music history, and musical notations. According to Bruno Nettl, ethnomusicologists study music in a cultural context, music in culture and music as culture.

Musical Textures     

Monophony: single melody Polyphony: more than one melody at the same time Heterophony: two or more different voices or instruments elaborating the same melody in different ways Homophony: single dominant melody and musical accompaniment Antiphony: call and response music

Talas  

Tala: rhythmic cycles Capu: a family of tala that come from practices into the classical system o Tisra Eka: 3 o Misra Capu: 7 o Khanda Capu: 5 o Tirpuzghah: 21 o Adi Tala: 8  Adi: primordial or original tala

Yatis: Rhythmic Shape Sama-Yati: same shape | | Goppucha-Yati: cow tail shape \ /

Scrotovaha-Yati: river’s mouth / \

Mrdang-Yati: /\ - || - \/

Domaru-Yati: \/ - || - /\

Visama: no order. Basically like an insult because this system is about creating beautiful order and shape

South Indian Music 

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Solkattu: South Indian syllable system for timing and rhythm o Sol: syllables o Kattu: bound together Tala: general term for rhythm and timing in many South Indian musics o Also refers to series of repeated hand gestures used to mark and thereby create musical theme o Tala is cyclical, continuous for the duration of a piece, embodied, and inter-bodied

Vocabulary                 

Soundscape: the characteristic sounds of a particular place, human and non-human. Does not include pictures and instruments. Soundscape Ecology: sounds within a specific environment. Acoustic Niche: sounds used by each species to avoid interference. Culture: the way of life of a people. Music Culture: a groups total involvement with music Free rhythm: rhythm without recurring accents Polyrhythm: simultaneous occurrence of different rhythms without a downbeat shift Polymeter: simultaneous presence of different structures of music Pitch: highness or lowness of a song Timbre: color and quality of a tone produced by an instrument or a voice Scale: ordered arrangement of pitches Intervals: distance between pitches Octave: interval between one musical and another that is twice or half its frequency. Form: structure of a musical performance Phrases: a group of tones that make up a unit Melody: succession of pitches Rhythm: recurring accents in time

Music Transnationalism     

The movement of musicians across national borders Mp3s shared internationally over the internet Musics of refugees Collaborations among artists from different music cultures

Music Culture Performance Model  

Grounded in music as it is performed Performance is situated in a community and is part of a people’s music culture

Inside

Bear Creek

the Yellow: Music Inside the Green: Performers Inside the Red: Audience Inside the Blue: Time and Space

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Ojibwa Powwow Group Driving Drum Vocables and words: focus on form rather than meaning Falsetto Long Phrases Tribal and intertribal

Native Americans   

Hundreds of tribal groups and communities Political and social sovereignty o Over 500 tribes Guaranteed special rights

Native American Musical Styles  

Tribal: musical practices particular to a unique ethno linguistic community Intertribal: musical genres and practices widely dispersed and shared among the native groups o Powwow and Ghost Dance

Ghost Dance      

Musical practice/religion that declined after the massacre at Wounded Knee. Wovoka is the originator if the 1890 Ghost Dance Movement. It is comprised of a style of circle dancing Was performed by both men and women Dancers joined hands and danced in a clockwise direction Was meant to return native lands to native peoples

Haudenosaunee Music   

Iroquois confederacy Eskanye: women “shuffledance” song o Songs often performed by community singing societies. o Water drum “Sing” gatherings

Yuchi Music   

Creek Muskogee nation Stomp Dances o Songs are antiphonal – call and response Social Dances

Navajo 

Largest Indian tribe in the US o Yeibachi song o Nightaway Ceremony  Physical and spiritual healing o Hozhoo: beauty and blessedness  Traditional Navajo Music: o Enemyway ceremony o Ndaa repertoire o Clever and funny poetry Emic: insider perspective Etic: outsider perspective

Brazilian Music Salvador: Capital of Bahia, a northeastern state of Brazil.  Salvador was the epicenter of Brazilian slate trade  Between 4 and 5 million slaves were brought to Brazil  Brazilian abolition happened much later in 1888, compared to other countries.  Rio was not the epicenter of slave trade, but Bahia was instead.  A big part of carnival in Rio takes place on Sambadrome, while in Salvador, Bahia happens only in the streets.  In Christen Smith’s article, Carlinhos Brown is questioning the hypocrisy of considering Brazil a racial democracy in Bahia.  “Samba and reggae are the same thing, they have the same feeling of African roots” – Robert Nesta Marley  Emic refers to the perspective of a cultural tradition, etic to a cultural religion.  1888, Brazil became the last nation to outlaw slavery

Condomble Dance in honor of the gods is a religion found primarily in Brazil with a number of elements derived from African cultures. African and Christian.

4 Types of Afro-Brazilian Music 1. 2. 3. 4. 5.

Capoeira Condomble Afoxe THESE 3 IN ORDER OF APPEARANCE Blocos-Afros Samba

Blocos-Afros Carnival groups in Bahia

Capoeira           

Elements: Music, Dance, and Martial Art 2 main forms: Capoeira Angola and Capoeria Regional Brazilian dance and martial art Celebration of Brazilian African heritage Resistance in black culture Mestre: master or teacher in capoeira Berimbau: creates order in the capoeira dance. Instrument that begins the capoeira Musical bow Sort of like a vibrating sound Berimbau was not payed with capoeira in the earliest recordings

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Caxixi: Shaker - Usually follows the Berimbau Agogo: 2 toned bell Pandeiro: Brazilian tambourine Atabaque: sort of like a conga drum Berimbou

Capoeira Types in Order: 1. Ladainha: solo singing by the mestre 2. Chula: call and response section

3. Corrido: choral refrains

Samba          

Fusion music European harmony Portuguese language Heavy percussion Melding of African and European, not as accepted when Brazil was trying to be as European as possible 1917: Pelo telephone: First recorded samba Went from being a spurned music/dance to a national symbol Comprises multiple styles, much like jazz Is a hybrid form with both European and African roots Includes improvisation

Afoxe Black carnival organizations  Public manifestations of Condomble  Predating Samba, postdating Condomble

Brazilian Instruments      

Bateria: drum Pandeiro: Brazilian tambourine Atabaque: sort of like a conga drum Caxixi: Shaker - Usually follows the berimbou Agogo: 2 toned bell Berimbou: musical bow, vibrating sound. o Antecedents played in various parts of Africa to this day

Types of Instruments:    

Idiophone: when a solid object is creating the sound. Like a cowbell. Membranowhone: when a stretched membrane is the one making the sound. Aerophone: wind instrument where the air creates the sound Chordophone: where the chord is creating the sound.

Palmares     

Palmares: fugitive community of escaped slaves in Brazil. Quilombo: escaped slave community Zumbi: the leader of the quilombo, Palmares. Escaped slave. Cited as an afro-Brazilian folk hero for leading the resistance against slavery and institutions in Brazil.

Terms        

Malandro: an urban hustler. Often present in Sambas. Morro: Favelas Suingue: the groove Cordao (cuerda): huge rope that divides paying party in carnival from poor violent crowd o Symbol of the specialized racial apartheid of Bahian Carnival Orixas: dieties Trio-electrico: semi trailer truck with bands on top that play in the streets during carnival in Salvador Mardi-Gras: New Orleans carnival celebration Lent: like Carnival in the Caribbean and South America, it is a celebration preceding the Christian observance of Lent

AFRICAN MUSIC Accurate generalization: it is learned through enculturation. Two broad geographic zones divide the continent between north and south of the Sahara.

Ewe People         

Atlantic coast of Western Africa Live in Ghana and Togo nowadays Music meant: dance, costume, storytelling Primary example of their social life is extended families Agbekor people used to live within kingdoms with more powerful people such as Yoruba o In fact, they have songs about their exodus from Angkoli, the tyrannical king of Notsie Wenya: elderly leader Ewe supreme: Mawu Got tired so the ewe people became known as Anlo which means cramped Never believed in kingdoms

Agbekor          

A dance of the Ewe people It is literally “clear life” Original cultural use for Agbekor was as a war dance/song o Done before to mentally prepare, or after to tell the story Songs memorialize heroes but do not provide detailed historical information It is NOT primarily maintained in official West African music conservatories. Not formalized and no single version of the music and choreography Function was to gear people up for battle and war Dance was inspired by hunters observing monkeys Songs often had vernacular texts or Drum Language Could also be used to mourn or grieve o Gankogui instrument – sounds like a bell o Axatse – sort of like a shaker o Three other drums in descending order of relative pitch: kidi, kloboto, totodzi

Kuchipudi     

14th Century Sidhendrha Yogi – Source Yakshagan – Theatre Brahmin Tradition – (male-crossdressing) Vempati Chinna Satyam – dead professor

Can be divided into 3 types of dance:  Nrtta – abstract o No meaning conveyed  Nritya – expressive dance o Storytelling o Draws fro ancient scripture and literature and conveys them through dance o Through facial expressions and hand gestures o Hand gestures: hasta mudras  Natya – drama/theatre o Dramatizing a story

o Dancers take on a role

Terms and Rasas  

Bhava: Through your hand and facial gestures you are conveying feeling and emotion Hand gestures: o Pataka: flag  Ta di ki ta tom = very important solkattu o Make bread with ta da ki tat tom 9 Rasas:  Sringaram – love  Hasyam – joy  Karuna – sorrow/compassion  Raudram – anger  Viram – courage  Bhayanka – fear  Abdhutam – surprise  Bheebatsam – disgust  Shantam – peace (added rasa)

Mora    

South Indian rhythmic cadence. The Mora is the climax or the rhythmic cadence at the end of the song A way to bring things to a conclusion. Mora combines 2 things: a statement and a gap o Statement >= 1 and a gap is >= 0

West Africa: Mande Music   

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Mostly talking about Mali and around that country and Gambia West Africa Mande culture adheres to cast divisions according to family and occupation o One is born into a cast so it is hereditary o Institutionalized and organized system of discrimination Mande Empire founder: Sunjata

OF THE MANDE ETHNIC TRADITION: 1. Horon (Freeborn)  Farmers  Royaltu  Politicians 2. Nyamankala (artisan castes)  4 divisions o Numu: blacksmith. Allowed to make Jembes. Very important role. Traditionally associated with magic in the village. It was specialized art passed down through the works with metal. It was seen as bordering the art of magic and crafts. Only they can make instruments! Crucial role in the culture. o Fune: recite Islamic texts o Garanke: leatherworkers o Jeli: hereditary musician caste  Focus mostly on history and politics  They are NOT patrons of merchants

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They are guardians of history Counselors to royalty Entertainers for the public Three specialties: Speech, singing, instrumentalists

3. Jon (enslaved) o You could work yourself out of slavery

Mande Ensemble Music: These are open to anybody in Mande culture. Anybody can play them. The other music such as Numu and Fune and Garanke and Jeli are specialized and nobody else can play them.  Jembe music: anyone can play this music o hourglass shaped drum in Africa  Dun Dun music: bass drums

Jeli Instruments:     

Kora: 21 string harp Balafone: wooden keyed African xylophone Jeli Dun Dun Ngoni - koni: 5 string lute A talking drum

Terms           

Foli – instrument Kuma: speech – political and historical speech Donkili: song Ngara: Master Kouyate: original name Donkilo: Song. Melody and words. Melody-oriented, public Griots: Mande Jaliya...counselors to royalty, entertainers to public and guardians of history Staro: open ended spoken or chanted text Dagbon: Hereditary specialists Kongkong: Ostinato. Repeated phrases. o Kumbengo: Instrumental ostinato Female Jeli: Jelimuso: Engage in speech but specialize in singing. Only play narrow iron chime called nege or karinyan

Lunsi:       

Developed in Dagbon, the hierarchical centralized kingdoms of Dagbamba Hereditary clan of drummers STORYTELLER Historian counselor and entertainer Musician Geneologist Lunsi Instruments: o Gung-gong: 2 headed drum with snares on both sides  By squeezing and releasing the leather cords the drummer can adjust everything in the drum. If done correctly it can sound like Dagbanli, the spoken language of the Dagbamba. o Lunga: 2 sided drum that changes pitch  Talks using surrogate speech

Facts:    

Among west Africans and Indians, the oral tradition is the way they maintain faith Sunjata: the king of Mali Surakata: Claimed ancestor of Jeli...companion of prophet Mohammed Speech surrogates: Something that is speaking lexical meanings on an instrument

o Drums substituting for speech o Talking drums o Whistles

Main religion in India 

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Hinuism o Brahmins (Priests) o Khasttriyas (warriors) o Vaishyas (merchants, landowners) o Shudras (servatns, subordinate to vaishyas, khas, Brahmins) o Untocuchables(polluting to you)

Old is best, common is pure!

Alapana     

One style improvisation Free time Variable length Composed: violin and voice. Unison or heterophony Purpose: Usually introduces Raga, the melodic contents.

Svara Kalpana   

Improv with svara Note Solfedge

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Means sound o Considered an elemental force permeating the universe o Produced via pathways in the human body

Nada

o Realized through the voice o Sampradaya: the oral tradition

Sangitasastra    

Written tradition Direct translation: written treatises Earliest texts on music as an art date to the centuries just before the turn of the first millennia

Sampradaya 

Oral tradition

Karnatak or Carnatak Music      

Ancient practices are visible in contemporary forms Long history as one of the many musical form of South India All are devotional in nature Tani Avartanam refers to a drum solo Satisfied a need to have a genre on par with European classical music. Key features of Karnatak Music: o Dron o Raga: melodic material or content. Notes singer will use. o Tala: timing and particular gestures of the time o Melodic lead o Percussion o Text based devotional songs

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A collection of melodic information Tonal system of south India. 72 melakarta ragas in Karnatak system

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Raga

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Orientalism    

Contemporary Indian arts are the remnants of a once greater culture: the decline from a golden age European concepts and languages are implicitly valuable for understanding and describing Indian cultural models South Indian culture remained “pure” because it suffered less from northern Muslim invaders The east is a land of spirituality, based on intuition, afloat in a timeless history

2 Types of Rhythmic Material o Sarvalagu: time flow or groove o Kanakku: calculation  Yatis fall under kannakus because they are calculated mathematical shapes

 South Indian art music is Karnatac  North Indian art music Hindustani  Kriti: Raga, tala, composer o Is the same form as south Indian art music o Separated by a Mora o In order:  Pallavi o Mora transition  Anupallavi

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o Mora transition Carnam o Final mora

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Tambora in Carnatic music = drone

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Sruti: creating the fundamental note for the raga. Drone. Played on the Tambora. o Drone: root pitch and a 5th

 Svara Kalpana- type of improvisation o o o o

Melodic Improv In tala with rhythmic content Sung a svaras (solfedge) Accompanist follows main artist

 Sadir: devadasi o Servants of the god o Female temple dancers o Ritual dancers  For community events o Also performed in the royal courts...