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Ostinato- a continually repeated musical phrase or rhythm. Sevdalinka-Sevdalinka is a traditional genre of folk music from Bosnia and Herzegovina o Bosnian genre of song, often melancholy o Ottoman (Turkish) origins in Bosnia o also thought to be influenced by Sephardic musical traditions o sevdalinkas used to have religious Muslim text, now love song o sevda (Turkish), “love” o urban style of singing o variable ensemble o accordion o slow tempo Basy-The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symp hony orchestra.

Gorale- sometimes considered a separate ethnic group within Polandas an ethnic designation, formed around the late 19th- to early 20th –centuries mountaineer in Polish. Goralski-Góralski means [dance] of the mountaineers. In Poland, however, góralski usually means the dance of the mountaineers from Podhale, as this region has the richest folk art and the most intricate dances, and therefore is the best known. a dance for a single couple, accompanied by a kapela (string band) nuta/nuty- note graphic sign of musical sound , defining its height and duration. gorale term meaning melodic idea or tune type Ozwodna-Dance tune-type for góralski dance in Podhale, Poland. An ozwodna may be introduced by singing, but it is primarily instrumental and is metered, usually with 5-bar phrases. Native America Hogan Navajo house The Long Walk: o forced relocation to internment camp, Fort Sumter Bosque Redondo o first “reservation” o disastrous planning, crop failure, illness, starvation The return, 1868 Contemporary Navajo lifestyles vary in their o involvement with the reservation o urban or rural lifeways

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o income source relationship with natural world powerful forces in nature (earth, water, wind, sky, animals, birds) directly influence human life hozhoo: beauty, blessedness, harmony o must be maintained for the social health of the tribe, nation o may be restored through ritual disease, bad dreams, accidents, mental illness are result of disharmony with natural world Apachean language family tonal language Yeibichaio Yeii - spirits o Yeiis control natural forces such as day and night, rain, wind, sun, etc. o Yei'bi'chai - lit. "Grandfather of the Yé'ii” o Rainbow yeii appears in sand paintings, curved around the edge, protecting 3 sides: N, S, W o Listening to Yebichai o two high falsetto whoops at beginning o short intro on tonic note (do) o high, tense vocal production (like Plains singing) and falsetto o entirely vocables (no text) o rattles o Performance of yebichai o last night of the 9-night ceremony o singers organized in teams, sometimes regional o each team sings several songs o dance of the gods in two parallel lines o teams compete, winners receive gift from hosting family o besides Yeibichai songs, there are hundreds of other Nightway songs with elaborate texts and poetry

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Nightway ceremonyo takes place over nine nights o purpose: healing of sick person (the “one-sung-over”) o dance, songs, costumes, masks o Yeibichai songs (on last night) o hundreds of other songs; elaborate texts, poetry o sand painting o purification; prayer offerings o retelling of Nightway myth o Yeibichai (ancestor deities) in masks dance in ceremony South Texas

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Conjuntoo Texas (Tejano) & northern Mexican genre o button accordion, bajo sexto (12-string guitar) o Mexico: musica norteña (northern music) o conjunto represents music of the working class o contrasted to orquestas, another Texas-Mexican genre considered more refined than conjunto o later (1950s) new ensembles add drumset, bass o New generation of conjunto musicians late 1940s o Added other instruments o Integrated vocals o Previous conjunto bands mainly instrumental o Sang rancheros (cancion rancheros), among other songs o 2 voices in parallel harmony o 1950s-60s on

o use of Tex-Mex lyrics 1950s-60s o influence of rock/country o Rancheros o Origins early 20th c. Mexico o roots in traditional rural music o populist reaction against aristocratic snobbery o nationalist movement, Mexican Revolution 1910-1920 o Romantic, patriotic themes o In triple or duple time (set to waltz and polka) o Originally 1 singer w/ guitar o Later norteño & conjunto bands 

influence of German immigrantso adapted tunes from German and Czech brass bands

polka-The polka is originally a Czech dance and genre of dance music familiar throughout Europe and the Americas. It originated in the middle of the 19th century in Bohemia, now part of the Czech Republic.  Flaco Jimenezo son of Santiago Jimenez o grandfather also accordionist, learned from German immigrants o 1980s-90s world music scene o Texas Tornadoes o several Grammys, including o “Ay te dejo en San Antonio” 1986 o Flaco in conjunto (from Polka! pt. 1)* o Flaco w/ Little Joe 

Lydia Mendoza-tejano musician and cojunto o 1916-2007

o one of first to record, 1920s-30s o RCA race records o San Antonio o “Mal Hombre”    

button accordion- accordion with buttons used in tex mex bajo sexton- 12 string guitar vocal duetsIn Mexico, the same kind of music is still played (bajo sexto and button accordions accompanying vocals, often with a polka sound)

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but it is called Musica Norteña in Mexico (because for Mexicans it represents music of “the north,” Mexico’s musical collaboration with Texas

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musical tribute for Mexico’s dead Blues

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Origins of Blues o Vocal style probably derived from field holler (work songs of sharecroppers) o vocal and instrumental aspect reveal African origins o call and response o social role of jeli or griots (W. Africa) similar to that of blues musician o banjo is a direct descendant of African string instrument o turn of the century songs: call and response, sometimes religious texts o Early Blues History o Son House (1902-1988) "Preachin' The Blues" o Blues first appeared as songs of traveling musicians o

medicine shows, street musicians

o preferred guitar to banjo 

Mississippi Deltao Mississippi–often regarded as birthplace of the blues o Delta Blues: Charley Patton, Son House, Robert Johnson, Muddy Waters (origin.)

o Charley Patton: o accented guitar rhythm, deep, sonorous vocals 

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Great Migrationo The Great Migration was the movement of 6 million African-Americans out of the rural Southern United States to the urban Northeast, Midwest, and West that occurred between 1916 and 1970. Until 1910, more than 90 percent of the African-American population lived in the American South. northward, rural-urban migrationo post- WWI migration from South to Chicago, Detroit o rent parties, house parties o Piano Blues o derived partly from ragtime o “barrelhouse” (early 20th c.) similar to improvised rags o Little Brother Montgomery “Prescription for the Blues” o Bass figures: the walking bass, broken octaves, resembles boogie-woogie o Pine Top Smith o Chicago (pre-WWII) o urban musicians of southern origin o addition of piano/keyboard, tenor saxophone or trumpet, harmonica, and/or drumset o Big Bill Broonzy “folk blues” powerful vocals, melodic guitar o “That’s alright” band accompaniment o “Glory of Love” , “Sixteen Tons” (solo voice, guitar) o Sonny Boy Williamson “Bye Bye Bird”

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Big Bill Broonzyo Date of birth uncertain 1893, 1898, or 1903 o Born Mississippi, moved to Chicago as a young man

o Folk Blues or Country Blues, guitar-centric, strong rhythm w/melodic picking; warm, powerful vocals; prolific songwriter (over 250 songs) o Transitioned to more urban blues in Chicago with piano, clarinet, drums, and other instruments o “That’s alright” band accompaniment o “Glory of Love” , “Sixteen Tons” (solo voice, guitar) o Hey Hey (guitar only, video) o 3 songs Worried Mind,” Hey, Hey,” and “How You Want it Done” video o “Joe Turner Blues” Global Jukebox 

Bessie Smitho Empress of the Blues, Influenced Billy Holiday o vaudeville blues singer, extremely popular in the 1920s and 1930s o busking in Chatanooga Tenn. at 9 or 10 yrs. o 1912 hired by small traveling troupe, featuring Ma Rainey o 1920s performed in Atlanta theaters o chorus line, then headliner o Signed by Columbia Records in1923 o

"Cemetery Blues" (1923), first of Columbia’s “race records”

o 1929 Great Depression, advent of "talkies" end of vaudeville o Swing -- her last recordings, 1933 South America 

Sanjuano genre originated around 1860 o referred to type of song played at festival of St. John the Baptist, held in June o regional variations: o sanjuan from Ecuadorian highlands

o Chota River Valley o Highland Sanjuan o among Quichua living on the slopes of Mt. Cotacachi (northern Ecuador) o perform sanjuan on the diatonic harp o harp originally brought by European missionaries o has been in Latin America for over 400 years o Imbabura harp: o made of cedar, gut/nylon and steel strings, large resonator o descendant of 16th-century Spanish harp o main phrase (A) 8 beats; contrasting phrases (B) also 8 beats o typically contrasting phrase(s) inserted sparsely among repetitions of the the main phrase o isorhythmic: consistency of phrase rhythm o first half of phrase has same rhythm as the second half o rhythm combination of sixteenth-eight-sixteenth, two eighths o usually double couplet (two-line verse repeated) o bimodality o ex. CD 3:3 “Muyu Muyari Warmigu” o  

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Quichuao the language of the Inca civilization, presently spoken by about 7million people in Peru, Ecuador, Bolivia, Chile, and Argentina. Kantuo k’antu – a type of ceremonial panpipe music from the high plateau of Peru and Bolivia zampoñas- panpipes o large number of panpipes in South America

o wide variety o among Native people from Panama to Peru, Bolivia, and Chile o some traditions dating back 1500 years 

Afro-Peruvian music-

o mid-twentieth c. revival of Afro-Peruvian music o lando – a “lost genre” formerly performed by Africans and descendants in Peru, an elegant dance with intertwined rhythms o comes from W. African lunda; and ancestor of Peruvian marinera according to Nicomedes Santa Cruz* o Eva Allyon became known as the Queen of the Lando o Spanish guitar, cajon, cajita, and quijada o every day objects (like cajon) used as percussion as drums were forbidden to slaves o cajita was a collection box, like in church, cajon wooden box/crate o Huevito Lobaton and Yuri Juaréz perform Afro-Peruvian song o cajon Peruano - ritm lando 

Bolivian kantuo “Kutirimunapaq” is music of the Kallawaya people from the Bolivian Andes o Kallawaya campesinos of the Charazani Valley o Quechua speakers live at lower elevation, farmers o Aymara speakers – higher elevation, herders o k’antu ensembles – about 20-30 zampoña players/dancers o wankarai – large double-headed drum

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quijada- jaw bone cajon- box drum China

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qin- 7-stringed plucked zither o ancient 7-stringed plucked zither, over 3000 years old o rounded top surface, highly lacquered wood o played on special table or “altar” o individual sound of each instrument

o each instrument usually given name o qin lecture at the Asian Art Museum of San Francisco o qin performance by Tao Chu-Shen o ancient qin as valuable art objects, still played o highly complex playing techniques o 107 techniques total (for right and left hands)* o associated with China’s literati o ideally played in solitude, in beautiful, serene, natural environment o many pieces are about natural features: flowing water, mountain stream, etc. o reveal Daoist and Confucian ideology and aesthetics 

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tablatureo is a form of musical notation indicating instrument fingering rather than musical pitches. Tablature is common for fretted stringed instruments such as the lute, vihuela, or guitar, as well as many free reed aerophones such as the harmonica. jiangnan sizhuo sizhu means silk and bamboo, refers to o silk stringed instruments & bamboo wind instruments o teahouse culture in Shanghai o musicians sit around a table, mostly play to each other, take turns playing o erhu - upright fiddle with snakeskin head o sanxian – 3 stringed, long-necked lute o pipa – four-stringed, pear-shaped lute o yangqin – hammer o dulcimer (a zither) o dizi –bamboo flute

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li o social propriety or ritual, rules of proper behavior

o music is inextricably linked with li, used in Confucian ceremonies 

ren o social virtue/benevolence o implies hierarchical relationship of responsibility and dependence between two people (i.e. ruler and subject)

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erhuo erhu - upright fiddle with snakeskin head o shifting hand position o expanded range of instrument o virtuosity o emotionality o vibrato

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Liu Tian Hua o Taught as Beijing University and Beijing Fine Arts Institute (1922, 1926) o adapted Chinese folk instruments, composition using Western technique. o “elevated” the erhu’s status and repertoire o folk to conservatory

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New Culture Movement - May 4th 1919 

Students protest, Tian An Men Square Beijing

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The New Culture Movement continued through the 1920s-1930

A Bing 1893–1950 o Chinese composer, erhu player o Daoist o street musician o recorded in 1950 before his death o Now standard repertory in music conservatories

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Sarajevo-capital of Bosnia and Herzegovina, is a compact city Podhale-Poland's most southern region

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located in the foothills the Tatra mountains (part of the Carpathian mountain range)

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Bosnia: -“Il’ Je Vedro, Il’ Oblacno,” (Is it Fair or Cloudy?) unaccompanied sevdalinka, Bosnia (supplementary listening)

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Podhale (Poland): -Goralski suite part 1: Ozwodna. Worlds of Music CD1: 25https://soundcloud.com/user587576/2-14-goralski-suite-part-2 -Goralski suite part 4: Krzesana “po dwa.” Worlds of Music CD1: 28https://soundcloud.com/user587576/2-16-goralski-suite-part-4

Afghanistan:  Juncture of 3 major cultural areas: ◦ Central Asia, Middle East, India  Shares borders with: Iran, Turkmenistan, Uzbekistan, Tajikistan, China, Pakistan

 Ethnically, linguistically diverse ◦ Pashtuns (50%) ◦ Tajiks (30%) ◦ Uzbeks, Turkmens, Turkmen, Kyrgyz, Kazakh (10%) Afghan Music History:  Court Music  Teahouses and Markets  Radio  War Afghanistan’s early cultural ties with the Indian Subcontinent:  Moghul Empire (1527-c.1867) founded by Babur  courts at Kabul, Lahore, Delhi  expansive Persian cultural influence  Persian language, literature, poetry, art, architecture, music Afghan rubab “National Afghan Instrument”  Afghan rubab: short-necked, fretted lute with a deep body, 3 main strings, and variable number of sympathetic strings

 tabla: Indian pitched drum pair ◦ widely used in urban settings ◦ brought to Afghan courts from northern India Instruments for Afgani Pashtun ensembles  Afghan rubab  Tabla Other instruments  harmonium (pump organ)  dohol/doholak (double-headed drum)  dilruba-bowed lute w/ skin head, symp str  tula – wooden flute  sarinda – small bowed lute with skin head  tanbur – long-necked fretted, plucked lute w/ symp st Landai – Pashtun song genre  two line verse  opening sets a mood or scene  wrapped up, concluded in second line You spent all summer in cool Kabul; You return in the fall and want your flower intact?  composed from a woman’s perspective; usually sung by men Village and city musical life before 1979  20th c. music indispensable at celebrations and entertainments  small city theaters  tea houses  spring fairs  evening concerts during Ramadan Afghanistan’s “Endless War” since 1979  1979-1989 war with Soviet Union ◦ Mujahideen financed and armed by the U.S.  1989-1996 civil war ◦ 1992 Communist regime falls  1996-2001 Taliban take power ◦ Bin Laden makes Afghanistan home base for Al Qaeda training camps  2001 U.S./NATO-led war in Afghanistan following 9/11 Afghanistan - Music in the turbulent late 20th century  Politicization of music ◦ music powerful tool of Communist regime ◦ after competing religious-based parties take over, public role for music drastically reduced

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all instrumental music banned under Taliban Consequences of war: Refugees musician quarter (Kharabat) in Kabul hit repeated by heavy artillery (esp.1992 by Mujahideen factions) many musicians flee to Pakistan Breaking the Silence: Music in Afghanistan (BBC doc)

◦ ◦ Khalil House Homayun Sakhi  musician from Kabul, Afghanistan and Peshawar, Pakistan  master of the Afghan rubab  experimental playing, composition, collaboration India  Indus Valley Civilization (c.2500-c.1700 B.C.E)  Aryans (c.1700-c.500)  Four Vedas – first extant literature of the region; sacred prayers, incantations, rituals; still used today; purported to be the source of India’s classical music system (raga)  Great kingdoms of India 500 BCE-1400 C.E.  flourishing of Sanskrit, Hindu mythology, patronage of the arts  Moghul Empire (1527-c.1867)  Babur (1483-1531), descendant of Timur  Muslim rulers  British colonization (1600s-1947)  1947 India, Pakistan, Bangladesh achieve independence from Britain North India Moghul Empire  Babur  founder of the Moghul Empire  direct descendant of Timur  lineage Chagatai  also related to Genghis Khan  expansive Persian cultural influence in this region  in urban areas and oasis cities from India to Central Asia  urban Persian language, literature, poetry, art, architecture (Taj Mahal), music  North India  Hindustani Music  Afghanistan 19th- -early 20th c.:courts highly influenced by Hindustani music Taj Mahal completed in 1648, located in Agra, in northeast India  text from the Qur’an used as decoration throughout the Taj Mahal complex Mughal influence on N. Indian music  Synthesis of indigenous traditions, Persian influence, and contact with Central Asia  Silk Road and string instruments (i.e., sitar, India; setar, Central Asia)  Persian poetry  raga (compare with the Persian dastgah and Arab maqam)

South India  Mahabharata and Ramayana  Hindu epics  basis of dance-dramas and songs in India  also SE Asia  Ramayana  the many tales of Rama’s life (birth, marriage, wandering in exile, fighting the demon king)  central Hindu text dance music is highly specialized  tailored to the dancer’s individual performance  “visual language” of hand gesture, facial expression and body movements  together interpret the song lyrics in dance form Classical Music Carnatic Music  roots in court music and Hindu temples of southern India  “Golden Age” late 18th – early 19th cc.  built upon immense repertoire of Hindu devotional songs  Three great saint-poet-composers  Syama Sastry (1762-1827)  Tyagaraja (1767-1847)  Muttuswamy Dikshitar (1776-1836)  Raga  “an expressive entity with a musical ‘personality,’” a bit similar to the Arab maqam (musical mode)  collection of notes, a scale, intonation, ornaments, resting or pillar tones  includes characteristic musical gestures or phrases  learning a raga is an oral tradition  must learn from a master or guru, requires many years  Ravi Shankar Raga Rasia  tala – time cycle  metric cycle for southern Indian classical music  4 main talas;  Adi tala is the most common:  4+2+2  mridangam – double-headed drum, principle accompanying percussion instrument  learn by use of sollukattu (spoken syllables resembling drum strokes)  sruti – drone layer  can include one or more instruments  tambura – four-stringed plucked lute tuned to tonic and 5th  sruti-box – reed organ played with a bellows, producing continuous sound  single melody, highly ornamented  different concept of note, svarah  focused, nasal vocal timbre ...