F111 Exam 2
TURNING POINT IN U.S. IMMIGRATION HISTORY (PAGE 167)
-1845-1850: "great hunger" potato famine in Ireland spurs/motivates immigration to the U.S. -1850: increasing numbers of immigrants in the U.S. from Latin America, China, and Scandinavia -Immigration Act of 1864: encourages immigrants to move to the U.S. because it allows them to apply to the government for financial aid -Late 1880s: European immigration shifts from northern and western Europe to southern and eastern Europe (Russia, Poland, Greece, and Italy) -Quota Act of 1921: establishes yearly immigration quotas at 3% of foreign-born population -Immigration Act of 1924: makes national quotas permanents and limits yearly immigration to 2% of U.S. population - eastern and southern European immigration is sharply decreased and Asian immigrants are banned as a result of this act -Displaced Persons Act of 1952: provides first fundamental revision of immigration act of 1864 - revises the quota system established by this act -Immigration and Nationality Act of 1965: amends the immigration act of 1924 - discontinues the quota system and places an annual visa limit of 170,000 -Immigration Reform and Control Act of 1986: amends immigration and nationality act of 1952 to improve control of aliens in U.S. and increase border control -Immigration Amendment of 1988: makes additional visas available to immigrants from underrepresented countries to enhance diversity in the U.S. -Immigration Act of 1990: amends 1986 legislation and revises immigration laws since 1952 -USA PATRIOT Act of 2001: (Unites and Strengthens America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act of 2001) contains amendments restricting immigration - several sections of the act were extended without changed until 2015
SYNESTHESIA
-A neurological condition in which sensations cross between the senses (or stimulate another sense) -Example: perceiving certain musical pitches as colors
BALLAD
-A song genre commemorating important events and individuals usually in strophic form
ULULATION
-A type of vocal style women in Eastern Africa used to express their excitement or jubilation -Vocal sound of celebration or joy generally produced by women throughout African expression at conclusion of the song done by lifting their voice
CLARINET
-Aerophone -Instrument played in jazz funeral
FRENCH HORN
-Aerophone -Instrument played in jazz funeral
SAXOPHONE
-Aerophone -Instrument played in jazz funeral
SOUSAPHONE
-Aerophone -Instrument played in jazz funeral
TROMBONE
-Aerophone -Instrument played in jazz funeral
TRUMPET
-Aerophone -Instrument played in jazz funeral
TUBA
-Aerophone -Instrument played in jazz funeral
KHAEN
-Aerophone -Several wooden tubes placed together -Similar to panpipes
JELLY ROLL MORTON
-Another New Orleans Jazz musician commemorated in the Jazz funeral
WAKEF'ALA SHAT BAHER ("STANDING ON THE SHORE," ARAB SONG) - LISTENING GUIDE 41 (CHAPTER 4)
-Arab song composed in 1950 by Zaghul al-Damnour -Performed by Hanan Harouni (vocalist), Joe Bedway (ud or lute), Yacoub Ghannim (qanun or zither), Hakki Obadia and Naim Harakand (violins, drums or riqq, wood blocks, and chorus) *Form: Mawwala = alternating between refrain sections and free rhythm sections* -Mode: Maqam huzam *Tempo: sections in moderate duple meter alternating with sections in free rhythm* *Texture: heterophone - between the voice and the melodic instruments* -Vocal style with nasal quality and many ornaments -Text referring to migration and describing a community in motion - carrying news between new home and ancestral homeland *Hearing upbeat music in beginning and then comes in woman singing in Arabic at about 20 seconds in*
HONOR BEATS
-Beats produced in consecutive manner
GLISSANDO
-Begins or ends a music phrase by sweeping or gliding up or down - melodic gesture upward or downward -Beginning or ending musical phrase with a vocal slide upward or downward
PICCOLO
-Chinese flute -Aerophone
NG BAK LOI GIMSAAN (CHINESE MUYU) - LISTENING GUIDE 40 (CHAPTER 4)
-Chinese muyu song composed in 1982 -Performed in 1989 or 1990 by Sheung Chi Ng - also known as Ng Bak or Uncle Ng *Function: personal narrative song performed alone or at school gatherings* *Form: flexible musical form with rhyming couplets (two lines in the verse) and triplets *Tempo: moderate - double meter* -Detailed narrative of Uncle Ng's migration to the U.S. and his experience as an immigrant - in five parts -Alteration of lyrics with vocables -Groups of four, five, and six phrases that are similar in melodic and rhythmic content -Limited vocal range of about one octave -Three distinct types of cadences at the end of each phrase - (1) long pitch low in singer's range followed by descending glissando to end most sections of Chinese muyu, (2) long pitch high in singer's range followed by glissando, (3) shorter pitch cut off without glissando -There are seven syllables per line (rhymed) with a 2:2:3 segmentation style or form *Sounds like someone is speaking and/or making weird noises in Chinese (more like talking than singing)*
THE WHEAT SONG (EGYPTIAN FILM SONG) - LISTENING GUIDE 51 (CHAPTER 5)
-Egyptian film song composed in 1946 by Muhammad 'Abd al-Wahhab -Performed by Muhammad 'Abd al-Wahhab (voice); Cairo Opera Chorus; and instrumental ensemble (tiran and riqq = frame drums, qanun = zither, six violins, cello, bass, piano, and piccolo) *Form: Egyptian ughniyah - strophic song with refrain* *Tempo: moderate* *Function: composed for the film Lastu Malakan ("I Am Not An Angle") to accompany a scene during which Egyptian peasants harvest the wheat crop* -Combination between traditional Arab with Western instruments - use of a Western-style opera chorus -Contrast between melodic and rhythmic context of the instrumental introduction and that of the song -Overall song form with refrain sung to the vocable "ah" - melodic contrast and asymmetrical structure of verse 1 (a a b) and verse 2 (c c a b) -Reference to a classical Western melody from Tchaikovsky by the piccolo in the introduction -Inflection of maqam ajam toward C major throughout the song and at the final cadence (inflection) -Frame drums and piccolo played in beginning of song *Shows a juxtaposition between eastern and western music - hear music associated with the east (Egyptian) in the beginning and then moves to music associated with the west (free rhythm and concert based) later on* *Starts with drums and then hear piccolo (solo) come in as well as other instruments (stringed) following*
LOUIS ARMSTRONG
-Famous Jazz musician commemorated at Jazz funeral - known for making Jazz popular both nationally and internationally and also for attracting huge, diverse audiences -One of the stars of New Orleans jazz style - brought a new, domestic audience to jazz -His jazz funeral included a large parade of musicians and fans with the Onward Brass Band leading as it marched through town
SPIRITUALS
-Genre of songs usually with verses and a refrain that emerge from the musical expression of African American slaves exposed to New World Christianity -Also referred to as Negro Spirituals - a musical expression of enslaved Africans exposed to Christianity
NEW ORLEANS BRASS BAND
-Included in the commemoration of the jazz musician Louis Armstrong - played a major part in his jazz funeral -Several types of brass bands in New Orleans - tonk bands (common in poorer districts of the city), society bands (played sentimental ballads at high-society events in the wealthier parts of town), and dance bands (performed for dances, advertisements, picnics) -Specifically society band organization (also referred to as the pleasure clubs) helped get proper burials
CADENCES
-Melodic or harmonic configuration that creates a sense of resolution
PENTATONIC SCALE
-Melody with pattern of five notes in one scale
SNARE DRUM
-Membranophone -Instrument played in jazz funeral
CREGORIO CORTEX (MEXICAN AMERICAN CORRIDO) - LISTENING GUIDE 47 (CHAPTER 5)
-Mexican corrido recorded in early 1930s -Performed by Trovadores Regionales - Pedro Rocha and Lupe Martinez *Form: strophic song* *Tempo: moderate triple meter* *Function: Ballad transmitted by oral tradition and beginning in the early 1920s distributed on 78-rpm records for ethnic recordings* *Narrative flow of text - recounting story of Gregorio Cortez (perceived as hero by Mexican descent)* -Regular rhymes between the second and fourth lines of each verse and a mostly syllabic text setting -A melody with a very narrow range and mainly conjunct (stepwise) motion -Consistent harmony in thirds *Starts of with just music (very brief) and then hear men (more than one) come in singing in Spanish*
CHAIN MIGRATION (VOLUNTARY MIGRATION)
-Migration that began as voluntary movements to new region by choice - motivated by attraction of new region -Pull factors are an attraction that motivated people to move to the U.S. - such as natural resources (gold or oil), weather, destination spot, school system, safety and protection, economy and jobs, land, opportunity -Started by individuals who sent for family members and encouraged close friends to join them as well -Contributed to the formation of large communities in urban areas such as Detroit and New York in which immigrants settled in (Ex: Arab American communities) -Includes Chinese migration to the U.S., Middle Eastern migration to the U.S., and Arab migration to the U.S.
FORCED MIGRATION
-Migration that began or was set into motion by push factors beyond the individual or communities control -Oftentimes result from violent or disastrous events -Includes African and Vietnamese migrations to the U.S. -Since people forced from their homes often nostalgic for the past and maintain music traditions as part of their shared identity - as an expression of resistance -Used music for symbolic communication in political contexts - conveying official ideologies and voicing resistance on matters could not be spoken of in public
PIZMON
-Musical style based upon a preexisting melody but in which has been re-purposed with new text -Used by Syrian Jews to praise God -The ud was a popular instrument used in Pizmon style
PUBLIC TRANSCRIPTS
-Open musical displays of power and resistance -Interaction between group members in public setting -Can either be overt (done in a public way) or covert (done in a hidden way - symbolism or metaphoric)
DIASPORA
-People living outside their homeland who maintain memories of and attachments to their place of origin
AFRICAN (FORCED) MIGRATION
-People of African descent during time of the migration were not allowed to drink own property, or have parties -Afrikan language derived from Dutch
VIETNAMESE (FORCED) MIGRATION
-Pham Duy was one of the main composers in Vietnam during the migration - composed patriotic music as well as sad/love songs about longing for homeland which was banned because seen as form of resistance
TECHNOLOGIES OF TRANSMISSION (PAGE 205)
-Phonograph Era (1888-1940): series of phonographs and gramophones developed to record and play wax cylinders and 78-rpm discs - radio emerged in 1920s -LP Era (1948): new vinyl LPs greatly improved the fidelity of the sound and also contained much more music per slide (30-minutes of uninterrupted music) - magnetic-tape machines were invented a year later -Cassette Recorders Era (1960s): cassette tape recorders invented which allowed anyone anywhere to record and play back sound at very little expense and also made it easy for individuals and communities to share music (transforming process of musical transmission) - cassette tape recorders and later the Walkman caused a further shift from public consumption of live music to private listening of music -Digital Recording Era (1990s): digital music services are fast changing and allowed individuals to download individual tracks to portable devices - some of these include portable CD players (CD = digital recording device that uses optics), boombox with CD player and radio, streaming, sound clouds, MP3 players, etc.
OSTINATO
-Phrase repeated in a continuous tone of voice
UD
-Popular instrument used in Syrian Jewish Pizmon musical style
CHRISTIAN HYMN
-Religious song or poem
FAIRUZ
-Represents a person whose voice embodies exchange between Jewish, Christian, and Arab cultures -This woman represents the voice of the nation -Identification part of exam (possibly)
NATIONAL ANTHEM
-Reverential hymns, marches, folk tunes, contrafactum
FREE RHYTHM
-Rhythm NOT organized with regular pulse -Not metric so cant anticipate tempo and pulse -Also be referred to as Rubato
STROPHIC HYMN
-Same music different text
SONG CYCLE
-Series of songs in a larger work
ITERATIVE FORM
-Short, repeated verses (sections or segments)
VOCABLES
-Singing on syllables
DAN BAU
-Single-stringed instrument from Vietnam -Looks like or similar to a guitar -Amplified (electric) monochord -Instrument celebrated for ability to resemble voice at various pitches or tambers
CONTRAFACTUM (CONTRAFACTA)
-Song in which a new text is set to a borrowed or preexisting melody of a song
THE NEW SOUTH AFRICAN NATIONAL ANTHEM - LISTENING GUIDE 72 (CHAPTER 9)
-South African Song composed in 1996 by Edmund Bourne and John Hendricks -Based on Nkosi Sikelel' iAfrika (1897) and Die Stem van Suid Afrika ("The Call of South Africa," 1921) -Performed in 1998 by The Kuumba Singers *Form: combination of two strophic hymns* *Tempo: lively* *Texture: homophony in the style of hymns* -Verses sung in four different languages - the first two are sung in the indigenous languages Zulu and Sesotho while the last two are sung in Afrikaans and English *Hear a congregation singing "Nkosi Sikelel' iAfrika" but different than LG71 because starts out with everyone singing all together and not just one woman*
WAR DANCE SONG NO. 9 (SHOSHONE WAR DANCE) - LISTENING GUIDE 76 (CHAPTER 9)
-South African Song recorded in 1977 -Performed by Helene Furlong and Wayland Bonatsie (same performers as Shoshone Flag Song - LG74) *Function: song to accompany the war dance* -Source: learned by Shoshone singers from relatives in the Blackfoot tribe (LG75) *Form: song with "a b b a b b" form - followed by a nduah (literally means "son" or "tail)* *Tempo: moderately fast* -Pulsation in the male vocal style - alternating loud and soft pulsations without breaking the tone -The female singer's part enters after the opening call and continues until the end of the song -Loud final drum beat ends the War Dance -Peculiar or unique because strong customary gender roles shape performance style - the men are dancers or actors and the women enter after opening section -Incorporates ululation and also ostinato -Includes an idiophone (in a syncopated rhythmic pattern) and a membranophone (drums pulse which supports the fast tempo and pulsing voices) *Hear person singing in higher pitch voice and person singing in lower pitch with drumming in background*
SHOSHONE FLAG SONG - LISTENING GUIDE 74 (CHAPTER 9)
-South African Song recorded in 1977 -Recorded in the Wind River Shoshone Indian Days -Performed by Helene Furlong and Wayland Bonatsie (sometimes uses falsetto register to sing highest notes) *Function: to salute the presentation of the flag following the Grand Entry which begins every powwow* -Source: adopted by Shoshone singers from Cheyenne Flag Song heard in Lame Deer, Montana - at the Northern Cheyenne reservation *Form: iterative verses (repetition)* *Tempo: moderately slow (flag ceremony appropriate)* -Vocables, ululation, honor beats, octave, push-up, percussion, steady pulse (not syncopation) -Wide vocal range - each singer covers nearly two-octave ranges (Furlong is doubles or seconds while Bonatsie sings same melody octave or 1/8th higher) *Starts off with drums and then a high pitch voice starts making/singing noises and then another person starts making/singing the same noises (one of them is singing in a higher pitch than the other)*
GET UP, STAND UP (REGGAE) - LISTENING GUIDE 73 (CHAPTER 9)
-South African song composed by Peter Tosh (a political activist in South Africa) -First recording in 1973 by the Wailers - this recording in 1977 on Peter Tosh's album "Equal Rights" -Performed by Peter Tosh (vocals, guitar, keyboards), Sly Duunbar (drums), Earl Lindo (keyboards), Bunny Wailer (background vocals), Robbie Shakespeare (bass), and Al Anderson (guitar) *Form: strophic form with refrain* -Mode: minor *Tempo: moderate quadruple meter* -Electrophone: synthesizers, signal processors, and the hamon organ (sound quality changed electronically) -Syncopated rhythmic pattern (syncopation) - the rhythms of the music are off-beat or not on the pulse -A variety of timbres produced by electric guitars -Also includes an electric organ - softly filling in harmonies in the background -Explicit references to tenets of Rastafarian religion - setting them apart from Judeo-Christian beliefs and framing them as a basis for political action
NKOSI SIKELEL' IAFRIKA (SOUTH AFRICAN HYMN) - LISTENING GUIDE 71 (CHAPTER 9)
-South African song composed in 1897 by Enoch Mankayi Sontonga (a choirmaster or conductor in the Mpinga clan of the Xhosa nation) -Performed in 1984 by the Congregation of St. Paul's Church in Soweto (sounds like it - hear talking in the background of a congregation singing) *Form: a strophic hymn with verse and refrain* -Mode: Western major mode (Western harmony) *Texture: homophony (predominately)* -Tempo: moderate quadruple meter *Function: Christian Hymn initially and national anthem styles later* -Features: repetition or iterative form -The religious text and harmony in this song reflect the influence of Christian missions and South African singing traditions (call-and-response and vocal slides) -Translated into several different South African Nguni languages - such as Zulu, Xhosa, and Sesotho -Parallel motion between the low (bass) and high (soprano) voices -Includes four part terms - Bes (bass), Thena (tenor), Altha (alto), and Fast Pathi (soprano) *Starts off with a women singing softly and in high pitch "Nkosi Sikelel iAfrika" and then hear other people join in singing thing (hear one man especially)*
FLAG SONG FOR DESERT STORM (BLACKFOOT FLAG SONG) - LISTENING GUIDE 75 (CHAPTER 9)
-South African song recorded in 1992 -Performed by Black Lodge Singers of White Swan, Washington (powwow drum) - a formal organization similar to that of the Shoshone Flag Song *Function: to salute the flag following the Grand Entry* *Form: iterative verses* *Tempo: moderately fast* -Faster in tempo than the Shoshone Flag Song (LG74) because supported by a regular drumbeat -The text honors veterans of the 1991 Gulf War *Also starts off with drums and then hear one person making similar noises as heard followed by more people joining in making those same noises - very similar to LG74 but difference in tempo (faster tempo)*
WHEN THE SAINTS GO MARCHING IN (SPIRITUALS) - LISTENING GUIDE 48 (CHAPTER 5)
-Spiritual song in New Orleans recorded in the late 1960s and then reissued in 1998 -Performed by Dejan's Olympia Brass Band and directed by Milton Batiste *Genre: spiritual or gospel hymn* *Form: strophic song* *Tempo: lively quadruple meter* -The repeating sixteen-measure verse divided into four phrases of four measures each -The relationship between fixed elements of harmony reinforced throughout by the sousaphone in the bass against improvisation in other instruments -Reference to fragments of the song's main melody which only appears once in its entirety in verse 1 and not again until the voices enter *Hear drums and a man speaking in begging and then shortly after hear trombone and saxophones come in playing to tune of "When The Saints Go Marching In"*
PUSH-UP
-Stretching or lengthening of song
MIFALOT ELOHIM ("THE WORKS OF GOD," PIZMON) - LISTENING GUIDE 50 (CHAPTER 5)
-Syrian Jewish Pizmon composed in 1920 by Moses Ashear and performed in 1985 by Hyman Kaire -Source: based upon preexisting melody from school song of High School 62 in Brooklyn - which borrowed from the German Christmas carol (O Tannenbaum) *Form: strophic song* *Tempo: brisk with regular triple meter* *Function: a wedding pizmon (used to praise God) composed for Samuel Aharon Franco* -Hebrew text set to popular melody of Christmas carol -Alteration of Christmas carol (O Tannenbaum) in form from four phrases (a a b a) to five phrases (a a a b a) -Derived from Maqam Ajam - contrafactum which sounds like the Western major mode *Hear a man come in immediately singing in Hebrew*
ATTAH EL KABBIR ("YOU, GOD, ARE MIGHTY," SYRIAN JEWISH PIZMON) - LISTENING GUIDE 49 (CHAPTER 5)
-Syrian Jewish Pizmon song composed in 1900 by Raphael Tabous and performed in 1989 by Moses Tawil and Ensemble in Brooklyn, New York *Form: three-part Arab muwashshah ("encircled, ornamented") preceded by layali (improvised introduction, "oh night" - example of maqam)* *Function: sung in many contexts including social gatherings and prayer services* *Tempo: brisk with regular quadruple meter* -Contrast between free rhythm of the layali (improvised introduction) and the regular quadruple meter of the muwashshah that follows -Three-part muwashshah form contains a refrain and a contrasting middle section - both the refrain section and middle section have their own internal structures -Texture: heterophone in which voices and instruments sing and play the same melody and rhythm at the same time with slight deviations *Immediately hear a man singing an "ay" like sound at varying pitches (vibrancy) then later (about 40 seconds) hear few men come in singing in Hebrew (I think)*
RAMACH EVARAI ("LET MY WHOLE BEING TESTIFY," PIZMON) - LISTENING GUIDE 52 (CHAPTER 5)
-Syrian Pizmon composed in 1982 by Louis Massry -Performed by Moses Tawil Sr. and Ensemble (voices); Louis Massry (ud); and Ezra Ashkenazi (darabukkah) -Adapted from popular Arab ughniyah (based upon LG51) - the overall form of this song is refrain (a a b) refrain (x x c c a b) refrain ( x x c c a b) refrain -Differences in overall form from that of LG51 (song based upon) - substitutes a different introduction and uses an additional melody (x) in verse 2 *Form: strophic song with refrain* *Tempo: brisk with regular pulse in changing meters* *Function: composed for the bar mitzvah of Moses Tawil (grandson of Moses Tawil Senior)* -Tuning of ud in song deviates form Western major mode and contrasts with Western intonation of voices -Organization of the regular pulse into groups (measures) of different length -References within the text to the bar mitzvah ceremony for which the song was written for - includes names of the family members it was dedicated to -Interaction between soloist, chorus, and instruments -Singing on vocables ("ah") *Starts with guitar sounding instrument playing at moderate tempo which gradually becomes faster in tempo and then hear men come in singing "ah" sound*
FISK JUBILEE SINGERS
-The Jubilee Singers of Fisk University in Nashville, TN -Became famous for their powerful concert versions of slave songs - helped raise money by performing renditions of Negro Spirituals to keep university open
MAQAM
-The system governing pitch and melody in Arab music -Set of melodies in Arab culture passed down orally - various songs are therefore based upon these melodies
POWWOW
-Traditionally: religious gathering and healing ceremonies in which people get in touch with nature -Today: moments in which people gather
NOBODY KNOWS THE TROUBLE I'VE SEEN (AFRICAN AMERICAN SPIRITUAL) [A] FIELD RECORDING AND [B] CONCERT ARRANGEMENT - LISTENING GUIDE 42 (CHAPTER 4)
-Two parts or versions (a) and (b) of this African song - composed in (a) 1938 and in (b) 1945 -Performed by (a) Huddie "Leadbelly" Ledbetter and Martha Promise Ledbetter and by (b) Paul Robeson (baritone) and Lawrence Brown (piano and arranger) *Form: strophic form with refrain (both)* *Tempo: (a) moderate somewhat upbeat quadruple meter and (b) moderately slow quadruple meter* -Lendbetter's rendition in version (a) includes a quicker tempo and more jazzy eighth-note rhythms *The two parts (a) and (b) demonstrate two different versions or performances of same song - singers in (a) and (b) use different vocal timbres and techniques* -The chordal piano accompaniment in Robeson's performance in (b) contrasts with the simple guitar part played by Ledbetter in (a) consisting of a bassline played on strong beats and chords on the weak beats -Also the call-and-response patterns between Ledbetter and his wife in version (a) -Differences between the texts of the two versions or performances - both in the refrain and the first verse *Version (a): hear man and woman singing "nobody knows the trouble I've seen" one in lower pitch and one in higher pitch and with moderately fast tempo - starts off with guitar like instrument (before singing)* *Version (b) - hear man singing "nobody knows the trouble I've seen" in very low pitch and slow tempo - starts off with piano like instrument (before singing)*
OCTAVE
-Two singers singing same notes 1/8th apart
CORRIDO
-Type of ballad (usually strophic form) that commemorates important events and memorable individuals in Mexican and Mexican American history -Popular type of Narrative song in Mexico used to remember past events and important individuals
VINYL LP
-Used in LP era (1948) -Had high fidelity - the realness and richness of background sounds in the LP era
BOOMBOX
-Used in digital recording era (1990s)
CD PLAYER
-Used in digital recording era (1990s)
GRAMOPHONE
-Used in phonograph era (1888 - 1940)
PHONOGRAPH
-Used in phonograph era (1888 - 1940)
CASSETTE TAPE RECORDERS
-Used in the cassette recorders era (1960s)
WALKMAN
-Used in the cassette recorders era (1960s)
A THOUSAND MILES FROM HOME (CA HUE, VIETNAMESE CHAMBER MUSIC) - LISTENING GUIDE 43 (CHAPTER 4)
-Vietnamese song performed in 1995 -Performed by Perfume River Traditional Ensemble - Vo Que (artistic director); Thu Hang (voice); Manh Cam (trong = drum); Thai Hung (dan nguyet = two-stringed lute); Le Hoa (dan tranh = sixteen-stringed zither); Tran Thao (dan nhi = two-stringed fiddle, ken = double-reed aerophone); Si Thoai (dan bau = monochord); Ai Hoa, Thuy Van, and Khanh Van (voice and percussion) -Mode: dieu nam = pentatonic mode with three main pitches (ho, xang, xe) simil to Western scale-steps (do, fa, sol) - these three pitches used for phrase beginnings and endings and also have ornaments such as vibrato; nam usually implies a moderately slow tempo *Form/Tempo: first a section in free rhythm followed by section in fixed rhythm (second) in moderately slow eight-beat (phach) pattern tempo (quadruple meter)* *Function: chamber music performed for connoisseurs or cannibals in Vietnam* -Use of vibrato along with sliding between pitches in both stringed instruments and the voice -Use of a pentatonic mode with three main pitches ornamented throughout the piece -Use of a woodblock to mark the strong beats in each eight-beat cycle (1, 5, and 7) -Covers mythological character in Folklore that put their life on the line as queen/princess for their country *Hear a high pitched string or plucked instrument in beginning and then hen hear woman come in singing "ah" like sound at different pitches (vibrancy) - sounds like a song that would be played during yoga*
RU (VIETNAMESE LULLABY PLAYED ON DAN BAU) - LISTENING GUIDE 44 (CHAPTER 4)
-Vietnamese song recorded in 1997 -Performed by Phan Kin Thanh (dan bau) *Form: solo improvisation* *Tempo: moderate tempo mainly in free rhythm but with no regular meter* *Function: Ru (lullaby)* -Bending pitch effects (such as slides and vibrato) produced by bending the stem (made of water buffalo horn) at one end of the instrument -Harmonics produced by touching the string lightly with the heel of the hand -Timbre of the electric monochord -Melodies based on pentatonic scales - not confined exclusively to one such scale *Starts off with an "oo" like noise at all different pitches sort of like someone is singing or as if someone is playing an instrument - slow tempo (very calming)*
AI VO XU HUE THI VO ("COME TO HUE, COME") SONG 8 FROM PART TWO OF THE NATIONAL ROAD (LULLABY IN THE FASHION OF A RUE; EXCERPT FROM A VIETNAMESE SONG CYCLE) - LISTENING GUIDE 45 (CHAPTER 4)
-Vietnamese song that has two versions or parts and was composed in 1960 by Pham Duy -Pham Duy composed many patriotic songs about fighting French before leaving Vietnam in 1975 - his music represented what it meant to be a migrant and how it felt to be away from your homeland -Adapted from lullabies of Central Vietnam called Ru -Version (a) performed in the early 1990s in Garden Grove, California by a solo female voice, the Ngan Khoi ("Vast Ocean") chorus, and an orchestra -Version (b) performed in 1984 in Woodbridge, New Jersey by an amateur singer accompanied by piano *Form: verse-refrain form (both)* *Tempo: slow free rhythm with no regular pulse* *Version (a) adopted from or based upon a song cycle and is used for concert-hall performance* *Version (b) is used for celebration of Tet (the Vietnamese New Year)* *Versions (a) and (b) are the same song but with different qualities and performance of it - version (a) has full orchestration and is professional whereas version (b) has piano reduction or accompaniment (not full orchestration) and is performed by amateur singer* -Lines extended by vocabules -Use instruments from Vietnam - Khaen and dan bau -Vietnamese and Western style musical instruments -Pentatonic scale - pattern of 5 notes in one scale *Version (a): starts off with soft music and then a women comes in singing in a high pitch voice *Version (b): very similar to version (a) because also starts off with a woman singing in a high pitch voice but not at loud/prominent and hear background noise*
AI DI TREN DAM DUONG TRUONG ("WHO IS WALKING ON THE ENDLESS ROAD") SONG 9 FROM PART TWO OF THE NATIONAL ROAD (WORK SONG IN THE FASHION OF A HO; EXCERPT FROM A VIETNAMESE SONG CYCLE) - LISTENING GUIDE 46 (CHAPTER 4)
-Vietnamese work song composed in 1960 by Pham Duy and performed in the early 1990s by Ngan Khoi ("Vast Ocean") chorus, soloist, and orchestra -Based on traditional Vietnamese work songs called ho -Work song because task oriented - shows composers creative use of various aspects of the hi song tradition *Three-part (ternary) form - A B A' with introduction* *Tempo: moderate with quadruple meter* -The quadruple meter represents both the regular pounding of the rice and the quick pace of the traveler *Function: concert or stage performance song* -Varied textures including homophonic choral parts, call-and-response between soloist and chorus (gendered - men and women parts separated), imitation between voices, and use of counter-melodies -Use of pentatonic scales related to those in LG45(a) but deployed in a different order -Uses metric (not free rhythm) and pentatonic scale *Starts off with a violin sounding instrument and then builds and start to hear more of an areophone type instrument and then hear men and women start singing in a sort of call-and-response type manner*
JAZZ FUNERAL
-Way of commemorating the death of popular or famous Jazz musicians through music in New Orleans -Louis Armstrong is one of the most famous Jazz musicians commemorated at New Orleans Jazz funeral -Some of the instruments played during jazz funerals include the saxophone, clarinet, snare drum, trombone, french horn, trumpet, tuba, sousaphone -Second Line include the people that follow the brass band in the jazz funeral dancing as they go