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MUSIC 205 April 4, 2018 What is music? 

Humanly organized sound –John Blacking 1974

5 Propositions about music 

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Made up of sounds o Tone: Sound whose principle identity is a musical identity  Possesses duration (Length), frequency (pitch), amplitude (loudness) & timbre (quality of sound, tone color) Sounds & silences are organized in some way Sounds & silences are organized by people Music is a product of human intention & perception o Privileges inclusiveness & emphasizes the idea that music is insperable from people who make/interpret it The term “music” is tied to western culture & assumption to sound

Quranic Recitation John Cage 4’33” 

Not perceived musical by audience but organized movement/sounds

Culture  Edward Taylor Definition Identity  People’s ideas about who they are and what unites/distinguishes them for other people

Music Vocabulary       

Rhythm: How sounds & silences are organized over time Beat: Consistent unit of time Tempo: Speed of music Timbre/color: Aspect of sound that distinguishes one voice/instrument from another Melody: Main musical statement; tune of song or theme Notes: Single sound that has a pitch & duration Pitch: Aspect of sound related to highness/lowness of a note determined by sound wave frequency

Native American Music

April 6, 2018 Culture Areas 

Map

Language 

100s of languages but not all related

General Traits 

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Music rarely stand alone o Ceremony, game, social activity etc. o Concerts are very rare Dancing and song considered one performative act o Body as an instrument (clothing w/ things make noise) “Music” is not a concept in most indigenous language Permission and restrictions o Owned by communities/individuals may ask for payments or restrict times to play/sing it

Pacific Northwest: Potlatches    

Kwakiutl-nootka: Potalatch song o Distinct drumming and sounds like a female vocalist, one line. Wealthy families would give stuff away to show their wealth and build community Monophony: Music with a single melodic line Vocables: Combinations of speech like sounds with no definite meaning o Spiritual but not linguistic meaning

Canoe Songs 

Moving in unison, “dancers” in front of boats, one voice followed by others as a chorus

Native People of California 

Migration

Story of the Bird Songs    

Migration o Went around the world 4 times following the birds before they settled Perspective of a bird Old songs continue Sample texts from a song cycle o They are climbing, those seven sisters. They are climbing. o They are leaving, they are going. o They have climbed. They are gone, They are there now.

Bird Song Elements o Rattle accompaniment – done by men o Dance – done by women o Repeated phrases at the end. Structured to play one after the other

Cultural Revitalization

Powwow   

An event where American Indians of all nations come together to celebrate their culture through the medium of music and dance Pan-Indianism: Philosophy and movement that promotes unity among diverse Indigenous communities in the Americas through shared music, traditions, and culture. 2 styles: Northen and Southern o Northern: Head voice valued but singing with diaphragm, Higher pitch, Heterophony: Simultaneous variations of a single melodic line, Listening Example: Pocuping Singers, “Song of the Dancers” o Southern: Singing in Pawnee style (almost operatic), Lower pitch, Little heterophony, Listening Example: Southen Thunder “Pawnee song”

4/9

Tulalip speaker Performance: 

One beat, repeating verse

Song and language is all the same and lives in heart   

Putch (combinations of everything that you are) Song allows them express joys/sorrows, don’t have words instead all vocals Vocals are sung same way

Uses of songs    

Gifts, events, welcoming, goodbye, celebration, spirit songs in winter Every person has their own song Songs in stories Whole culture is surrounded by songs

How do you recognize meanings of different songs  

Comes from “the dream” Foundation of elders/teachers

Welcome song belongs to woman who was sick Instruments   

Drum Red cedar, spruce, elk skin Rattles are typically used in songs without drum but can be used together. Men or women can use it

Berry picking song

4/11 Blues and Jazz

Rhythm    

Subdivision: When the individual beat is divided into smaller rhythmic units Meter: The systematic grouping of individual beats into larger groupings Accents: A note that is emphasized Syncopation: When the accent is shifted to stress a beat that is normally not accented o A “weak” beat becomes a “strong” beat

Harmony   

Harmony: Simultaneously occurring frequencies Chord: A set of 2 or more notes of different pitch that are sounded simultaneously Harmonic Progression: A series of chord changes forming the underlying harmony of a piece of music

The Slave Trade 1518-1888  

Shaped musical traditions Race (as a social category): Attitudes, cultural categories, and ideas that exist within people’s minds and that are acted upon in the real world

Field Hollers     

Category of music from slavery “Call and Response”: Alternating two distinct musical phrases by two or more musicians. The first phrase is the call, the second is the response. Most African languages are tonal so they could communicate under the radar Improvisation: Creative activity of immediate musical composition “Children’s call” Listening example

Blues     

Blues Notes: Bent of slightly raised notes Microtones: An interval smaller than half-step in the European tuning system Robert Johnson “Cross Road Blues” Listening Example Lyrics explore realities Typically follows a twelve-bar blues progression that uses three chords

Other musical predecessors to jazz   

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New Orleans is birth place Spirituals o Vocal genre (Thick harmonies) Ragtime o Piano genre o Scott Joplin Brass Bands o Marches

Early Jazz  

New Orleans No definition

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Two basic components: o Improvisation o Syncopation Scat singing: Jazz singing with improvised vocables Buddy Bolden – one of the first jazz artists “West End Blues” Louis Armstrong Listening example Cultural appropriation: The adoption of elements of one culture by another culture o “Livery Stable Blues” The Original Dixieland Jazz Band First jazz recordings and was made by white band Race records o Black music for black listeners o No access to record labels Couldn’t mass produce records o Wax cylinders

Swing Era 

Big Band Instruments o Saxophones, Trumpets, Trombones, Drums, Bass, Piano, Guitar

Swing-Era Jazz    

Duke Ellington: Band leader A-A-B-A form Swing rhythm Listening example “Take a Train” Duke Ellington

1. Bird song-- This is a listening example from C. California Monophonic singing

4/13 Indigenous South America Indigenous peoples of South America

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Andean o Quechua o Amyara Equatorial o Suyá

Gender   

Gender: Cultual constructions that are observed, performed, and understood in any given society, often grounded in perceived biological differences Gender impacts how people make music Instruments have genders

Suyá of Brazil (Kisêdjê)   

Ceremonial cycles Social importance Gendered music o Shout songs sung by men o “Boys and Young Men Sing Shout Songs”  Rattle & voice are main instruments. Voice matters the most.

Music before Colonization  

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No known stringed instruments Dualism: Complementary opposites (Male/female; dark/light) seen working together to maintain harmony o Yanantin Metamorphosis: Transformation into an animal or spirit Nazca Flute (100-700 AD) Moche Pot (200 BC-800 AD)

Conversion   

Syncretism Indigenous composers Hanacpachap (1631) o Sung in Quechua  First published piece of music with multiple lines o Ode to Virgin Mary o Polyphony o European string instruments (guitar like)

Siku     

Andes region Bundled pair of flutes o Traditionally played in pairs Ira: leader (male) Arca: follower (female) o Lower pitch =female Hocket: musicians alternate notes to create a whole melodic line from interlocking parts

Sikuri Ensembles 

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Instruments o Arca o Ira o Bombo (drum) Listening example: Qhantari Ururi: Social dance

Analyzing Melodies  

Scale: An ascending and/or descending series of notes of different pitch. Songs and pieces of music are “built” from the notes of a particular scale. Pentatonic Scale: A five-tone scale

Charango  

Traditionally played by men Double-course strings

Flutes   

Traditionally played by men Quena o Notched flute Otovalan transverse flute

Contemporary “identidad” By los nin (2009)  

KIchwa Blending tradition with modernity o Charango o Quena

4/18 Brazil West African Religions

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Yoruba o Olodumaré: Owner of the Universe, Supreme God o Pantheon of approximately 1700 spiritual entities Fon o Vondun Spirits o Ancestors and living co-exist

Candomblé  Diaspora  Syncretism: The combination of two or more different forms of belief into a new belief or practice  Oludumaré  Interlocking rhythms  Syncopation  Polyrhytmic: 2 or more rhythms occurring simultaneously o Served by Orixas, Voduns, and Inkices Insturments of Candomblé  Atabaque drums o Rum: Tallesst, lowest pitch o Rum-pi: Medium o Lê: Smallest, highest pitch  Agogô: Metal balls  Xequerê: Medium-sized gourd with strings of beads  SYCOPATION Alujá  Rhytm for arisha shango o Color red Samba  Umbrella term for a wide range of music traidiotins of Brazil that share a common AfroBrazilian musical and cultural ancestry  Favelas: Low income areas  Secular: Not religious  Improvisation  Call and response  Syncopation  Carnaval o Samba Schools nnn  Common Samba Instruments o Bass drums o Cavaquinho o Tamborim o Pandiero o Cuíca

Blocos Afros  African Pride  Samba-reggae  Use call and response, drums Bossa Nova  Late 1950s ”new Cool” or “New Thing”  Fewer polyrhythms  Jazz influenced harmonies

4/20 Music of Mexico Indigenous Communities of Mexico  287 individual indigenous languages

Largest communities o Nahua o Maya o Zapotec o Mixtec Colonialism  Colonialism: The establishment of a colony in one territory by a political power from another territory o Drums boi Colonial Mexico 1521-1821  Spanish influences  African influences  Indigenous influences  Mestizaje: The blending of indigenous European, and African cultural elements Mexican Son  Secular songs  Poetic songs with rhyme schemes o Coplas  Regional styles  Sesqialtera or “Changing sixes” San Jarocho  Southern Coast of Veracruz  African Influences  Improvisation Common Instuments of San Jarocho  Jarana  Requinto Jarocho  Harpa Jarocha  Quijada  Marímbula San Jarocho: Fandango San Huasteco  Northeastern Veracruz region  Trio Huasteco  Huapango  Key characteristics o Distinctive rhythm  Apagón technique  Rasqueo o Falsetto San Jalisciense  From the state of Jalisco  Mariachi music 

Copia-interlude structure Grito Characteristics o Trumpets o Bel canto influence  Operatic singing style San Jalisciense Instumentation  Modern Mariachi instruments Mariachi  Any piece can be arranged for mariachi  Common tyopes of songs o Huapangos o San Huasteca o Son Jarocho o Ranchera o Boleros   

4/23 Cuba and the Caribbean  Cuba is close to Florida, very long. Eastern cuba vs western cuba Development of Santería

Syncretism: The combination of two or more different forms of belief into a new belief or practice  Influences o Roman Catholic o Yoruba o Congo  Orishas o Changó Instuments of Santería: Batá Drums  Okónkkolo: The smallest drum called “the father” or “the baby”  Itòele: Medium drum  Iyá: Largest drum  Chaworo: Small bells around the Iyá  Shekere: Gourd rattle  Shekere: Ground rattle  Hierro: Struck metal  Listening example: Bembé Shangó Changó Ochun Primart Insturments of Rumba  Conga is religious  Rumba is secular  Congas o Hembra: Female (large) o Macho: Male (medium) o Quinto: small  Tumba Cajón – listening example  Güiro  Claves  Started on western docks of cuba Rumba Structure  Diana: Introduction (0-:28 seconds)  Canto: song that is sung (:28 seconds- 2 minutes)  Montuno: Where the song ends and it goes into call and response (2 minutes to the end)  Clave Rhythm  Listening example – Yambú Rumba Rumba Guaguancó  Call and response structure Cuban Son  Eastern Cuba  Poetic emphasis  Clave rhythm  Call and response 

San Montuno  Double bass  Bongos  Guitar  Claves  Tres  Trumpet  Botija  Maracas  “Coralia” Sexteto Habanero Son Montuno Style  Arsenio Rodriguez o Ostinato: A short, recurring musical figure o Replaced guitar with piano  Basis for salsa, mambo  Listening example – Cangrejo fue a estudiar Mambo  Big band instrumentation  Ostinatos: A short, recurring musical  Afro-Cuban percussion rhythms  Jazz influences  Fast tempos  Almost no singing Perez Prado: The king of mambo

Up to this is for the midterm.

FOR FINAL 4/25 Middle East

QUICK overview

 411 million people  Linguistic diversity  Ethnic diversity  Religious diversity Music and Islam  Range and beliefs  Religious teachings o Quran o Hadiths  Integrate religion into music Features of Traditional Arabic music  Intimate connection between music and Arabic language  Emphasis on melody o Ornamentation: The decoration of melodic lines with additional notes or rhythms o Heterophony: Simultaneous variations of a single melodic line Rhythmic Modes  Iqa: System of organization of strong and weak beats  Two sounds of the Darbuka (Percussion instruments shaped like an hourclass): o Dumm o Takk Common Rhythmic Instruments  Darbuka/Doumbek o Goblet drum  Riq o Tambourine attached Melodic Notes  Maqam: A set of notes with traditions that define relationships between them, habitual patterns, and their melodic development  Microtonality: Intervals smaller than those commonly found in Western music Common Melodic Instruments  Oud  Qanun  Ney  Violin Takht Ensemble  Darbuka  Riq  Qanun  Oud  Violin  Ney Musical Concepts  Tarab: Encahntment or a state of ecstasy or trance

 Taqism: Improvisation Umm Kulthuum (1904-1975)  Voice of Egypt  Empahsis of text  Tarab Ragas  Scale: An ascending and/or descending series of notes of different pitch  Thaat: A collection of seven pitches comprising a mode Structure  Sections o Alap: Opening  Establishes the raga  Improvised o Jor: Pulse enters o Gat: Where the table enters o Jhala: Faster section Characteristics of Karnatak Music  Raga and Tala  Vocal Music  Ornamentation Bollywood  $300 million industry by 2019  Films a vehicle for music  Playback singers  Lata Mangeshkar  Sha Rukh Khan Listening Example: Barso Re  Voice  BErimbau (Brazil)  Bansuri flute  Dhoi drum Shakti and John Mclaughlin  Shakti (1975)  Special guitar o Extra strings o Scalloped fretboard Listening Examply “Shakti,” “Joy”  Mictotones  Blending Karnatak and Hindustani music

CHINA Overview  Population: 1.3 billion  Ethnic groups o Han Chinese o Minorities  Uighur

 Tibetan  Mongol Very Brief Historical Overview  Dynasties  Increased contact with Europe  Chinese Communist Revolution Zheng (guzheng)  Programmatic music: Music that carries extra musical meaning. Often attempting to tell a story  Listening Example: Autumn Moon over the Han Palace  Similar to “chin” instrument Jiangnan Sizhu  Jiangnan Region  Heterophonic texture  Instrument o Qinqn o Sanxian o Pipa (Pluck it) o Erhu o Yangqin  Bamboo category o Sheng Chinese Folk Orchestra Origins  How do you modernize without becoming Europeanized? o Integrated Eurpopean techniques o Society for Improving National Music o Integrate divisions in Western orchestra  Plucked strings  Percussion  Winds  Xiao Youmei 

Cai Yuanpei

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Suona (A hundred birds paying respect to the phoenix

Liuxing Gequ  Shanghai  A-A-B-A form

Japan Overview  Population: 127 million  Religions o Sjintoism o Buddhism  Brief History

o United in 17th century o Parts closed to outiders till 1854 Koto       

Eighth century 13 silk strings Solo and Chamber music repertoires Listening example (Rokudan no Shiabe) Yatsuhashi Kengyõ – blind composer 6 columns divided into beats Jo-Ha-Kyu o Jo: Introduction o Ha: Breaking apart o Kyu: Rushing Shakuhaci  Ma: The concept of space  “sokaku-reibo” by Teruhisa Fukuda  Instrument of spirituality Free meter Instruments of Noh Theater  HAYASHI  Ko-tsuzami  O-tsuzumi  Taiko Non-Theater: Dojoji  Masks, transformation Kabuki Theater  Same drums, flute as Noh  Added Shamisen  Male performers

Indonesia Overview  Population: 258 million  Language: Bahasa Indoneisa o Local dialects  Religions

Syncretism: The combination of two or more different forms of belief into a new belief or practice  Influences o Roman Catholic o Yoruba o Congo  Orishas o Changó Instuments of Santería: Batá Drums  Okónkkolo: The smallest drum called “the father” or “the baby”  Itòele: Medium drum  Iyá: Largest drum  Chaworo: Small bells around the Iyá  Shekere: Gourd rattle  Shekere: Ground rattle  Hierro: Struck metal  Listening example: Bembé Shangó Changó Ochun Primart Insturments of Rumba  Conga is religious  Rumba is secular  Congas 

o Hembra: Female (large) o Macho: Male (medium) o Quinto: small  Tumba Cajón – listening example  Güiro  Claves  Started on western docks of cuba Rumba Structure  Diana: Introduction (0-:28 seconds)  Canto: song that is sung (:28 seconds- 2 minutes)  Montuno: Where the song ends and it goes into call and response (2 minutes to the end)  Clave Rhythm  Listening example – Yambú Rumba Rumba Guaguancó  Call and response structure Cuban Son  Eastern Cuba  Poetic emphasis  Clave rhythm  Call and response

San Montuno  Double bass  Bongos  Guitar  Claves  Tres  Trumpet  Botija  Maracas  “Coralia” Sexteto Habanero Son Montuno Style  Arsenio Rodriguez o Ostinato: A short, recurring musical figure o Replaced guitar with piano  Basis for salsa, mambo  Listening example – Cangrejo fue a estudiar Mambo  Big band instrumentation  Ostinatos: A short, recurring musical  Afro-Cuban percussion rhythms  Jazz influences  Fast tempos  Almost no singing Perez Prado: The king of mambo

Up to this is for the midterm.

FOR FINAL

4/25 Middle East

QUICK overview



411 million people

 Linguistic diversity  Ethnic diversity  Religious diversity Music and Islam  Range and beliefs  Religious teachings o Quran o Hadiths  Integrate religion into music Features of Traditional Arabic music  Intimate connection between music and Arabic language  Emphasis on melody o Ornamentation: The decoration of melodic lines with additional notes or rhythms o Heterophony: Simultaneous variations of a single melodic line Rhythmic Modes  Iqa: System of organization of strong and weak beats  Two sounds of the Darbuka (Percussion instruments shaped like...