World Music Exam 1

Drone

o A melody accompanied by a drone is one of the simplest types of polyphony. In a melody plus drone texture, the melody unfolds over a sustained, continuous tone, as in the Scottish bagpipe performance (6-2).

Examples associated with Frequency

4-1 Los Angeles Northern Singers, Eagle Dance

o Proposition 1: The Basic Property of All Music Is Sound

o Music is made up of sounds o Use the word tone to distinguish music sounds from other kinds of noise o and then all the stuff on tone is in this paragraph so... o

6-9 Alpamayo, Sikuri de Despedida

o "sikuri Despedida" (6-9), performed by the group Alpamay, features folkloric music of the Andes mountains of South America. The melody heard at the beginning is divided between two Andean panpipes (siku). Each panpipe has only half of the pitches of the complete scale needed for the melody, and each provides about half of the total number of melody notes in the interlocking texture. o Sikuri de Despedida o Interlocking texture o Panpipes so aerophone?

Beat/pulse

o The lengths of the different notes are organized in relation to a steady, underlying pulse known as the beat. The beat is what you tap your foot to when you listen to a song, or what you move your feet to when you dance. o Each one of the pulses is called a beat, while the continuous stream of pulses is called the beat. o The beat of a piece of music may be marked out explicitly in sound or it may just be implied, that is, felt but not actually heard. Either way, it provides the foundation upon which all other rhythmic aspects of the music are organized

4-1 Los Angeles Northern Singers, Eagle Dance

o The melodic range of the song heard in 4-1 is considerably larger than that of "Mary Had a Little Lamb," and other characteristics of the melody are different in distinctive ways as well. This is an Eagle Dance song of the Northern Arapaho people. Such songs are frequently played in accompaniment of competitive dance performances at Native American and First Nations powwow celebrations. o Large range o descending melodic contour o WHAT ABOUT THE MELODY? WHAT INSTRUMENT?

• Membranophones

o The third class of instruments in the system, the membranophones, includes instruments in which the vibration of a membrane (natural or synthetic) stretched tightly across a frame resonator produces the sound. o Drums are the predominant type of instrument in this category, though there are others, like the kazoo, which are perhaps less obvious inclusions. o The snare drum, bass drum, and tom-toms of the Western drum set are all membranophones, as are the timpani (kettledrums) (5-21), shallow-shelled frame drums such as the South Indian kanji's tambourine (5-22), and also the South Indian mrgangam drum (5-23). o membranophones are played in many ways: with sticks, fingers, the palms of the hands, foot pedals, and even mouths (kazoo).

5-23 Trichy Sankaran, Mrdangan Solo in Khanda Eka Tala

the South Indian mrgangam drum (5-23) is a membranophone o membranophone

Tracks associated with duration

3-6 Hossam Ramzy, Alla Hai 3-7 Mariachi Sol, Cielito Lindo 3-8 Fanfara din Cozmesti, Cantecul Miresei 3-12 Jasbir Jassi, Kudi Kudi 3-14 The Athenians, Zorba the Greek 3-16 Karaikudi Subramaniam, Sarasasamadana (same as 5-13)

Examples associated with Instruments and Timbre

5-13 Karaikudi Subramaniam, Sarasasamadana (same as 3-16) 5-14 Central Javanese Gamelan, Ketawang Puspawarna (same as 6-6) 5-16 Haiqiong Deng, High Mountain, Flowing Water 5-19 Seamus Ennis, The Thrush Anin the Straw 5-23 Trichy Sankaran, Mrdangan Solo in Khanda Eka Tala

Examples associated with Texture and Form

6-3 Soweto Gospel Choir, Nkosi Sikelel'i Arfika 6-6 Central Javanese Gamelan, Ketawang Puspawarna (same as 5-14) 6-9 Alpamayo, Sikuri de Despedida 6-11 Secko Keita, Founé 6-12 Tebogo Tshotesi, Xai (Elephants)

6-6 Central Javanese Gamelan, Ketawang Puspawarna (same as 5-14)

???? o Polyphony - multiple melodies playing at once

Multiple Melody Texture

o Multiple melody texture occurs in polyphonic music that features two or more essentially separate melodic lines being preformed simultaneously. o Javanese gamelan music of Indonesia, such as that heard in 6-6, presents profusely complex and varied multiple melody textures. It typically includes many different layers of melody all being sung and played at once. Each of these layers is unique, yet all of them are interrelated.

3-16 Karaikudi Subramaniam, Sarasasamadana (same as 5-13)

o 3-16 beings with music played in free rhythm on an instrument from South India called the vina. Then, just before the drum (called a mrdangam) enters , a beat is established and the drum part marks out a metric cycle of eight beats. o begins in free rhythm o enters a beat that becomes a metric cycle of eight beats o Vina - chordophone o then drum before the beat is established - membranophone

Vocables

o A generic term used by musicologists to describe nonlinguistic syllables heard in vocal performances (singing, rapping, etc). Vocables are employed in many different types of music worldwide.

3-14 The Athenians, Zorba the Greek

o A gradual acceleration in tempo is used as a device to heighten musical excitement in many music traditions, including Greek folk music. Listen to The Athenians performing "Zorba the Greek"in 3-14 and try clapping along with the beat, noticing how dramatically the tempo increases. If the tempo acceleration is doing its job, as it were, the experience may give you an infusion of energy, perhaps even elevate your mood. o Zorba the Greek o tempo increase o Chordophone?

Society vis-à-vis Social Institutions

o A society may be defined as a group of persons regarded as forming a single community of related, interdependent individuals. When we study the relationship of music and society, our interest is in how music functions among the members of such a group to foster their sense of community, and sometimes to challenge it. o While the term society may be applied to communities of virtually any size, it is often used in connection with large scale social entities, such as nations. Because of their size societies are usually imagined communities. This means that they are unified communities not because all of their members actually know each other on a "face-to-face" basis, but rather because they share a connection to one another through certain ideas and social institutions. o All societies are built around aggregates of intersecting social institutions. These may be governmental, economic, legal, religious, family-centered, activity-or-interest-based, service oriented, or purely social in nature. o The study of music and society focuses on how musicians and musical organizations act and function relative to their societies. It explores how they enter into, are affected by, and contribute to the interplay of the social institutions that keep the engine of a society running, or that may in some instances cause it to stall. o Societies are rooted in social organization: religions, ideologies, philosophies, sciences, moral and ethical principles, artistic creations, and ritual performances to name a few.

Amplitude

o Amplitude relates to how loud or soft tones are. The relative loudness and softness of different tones (with silence at one extreme of the loudness to softness continuum) are what define dynamics in music.

Interlocking

o Multiple melodies and multiple rhythmic lines can be stacked one atop the other to create polyphonic textures of many different kinds, as we have seen. o Moving in the opposite direction, a single melodic or rhythmic line may be divided among two or more instruments or voices. When this occurs, the result is textures based on interlocking. o "sikuri Despedida" (6-9), performed by the group Alpamay, features folkloric music of the Andes mountains of South America. The melody heard at the beginning is divided between two Andean panpipes (siku). Each panpipe has only half of the pitches of the complete scale needed for the melody, and each provides about half of the total number of melody notes in the interlocking texture.

Béla Bartók

o Great composer and ethnomusicologist o Not art music but regular music by regular people in Eastern European folk music. o Bartok recording villagers in modern day Slovakia. o Hearing music is better than music on notation transcribed o Chinese notation changed into European - butchered it

6-3 Soweto Gospel Choir, Nkosi Sikelel'i Arfika

o Harmonized textures emerge when notes of different pitch occur together to form chords, or "harmonies" Each note of a melody can generate its own chord, as in 6-3, which features the Soweto Gospel Choir's powerful rendition of the South African national anthem. o Nkosi Sikelel'i Arfika o harmonized texture o voice is an aerophone?

Harmonized texture

o Harmonized textures emerge when notes of different pitch occur together to form chords, or "harmonies" Each note of a melody can generate its own chord, as in 6-3, which features the Soweto Gospel Choir's powerful rendition of the South African national anthem. o Alternately, the chords in a harmonized texture may be supplied by one or more instruments (piano, guitar) in accompaniment of a melody that is sung or is played on another instrument or instruments. In John Lennon's "Imagine", the chords are heard in the piano part accompanying Lennon's singing of the melody.

• Idiophones

o Idiophones are instruments in which the vibration of the body of the instrument itself (rather than string, air tube, or membrane) produces the sounds. "Idiophone" literally means "self sounder." The vibrating material and the resonating chamber are one and the same (though an external resonator may be added to increase the instrument's volume). o The idiophone class includes just about all percussion instruments other than drums: gongs, triangles, shakers, cymbals, spoons, castanets, hand claps. Xylophone-type instruments also belong to the idiophone class, including the beautiful bronze metallophone instruments of Indonesian Gamelan ensembles. Other melodic instruments, like the steel pan (also known as pan or steel drum) and the mbira dzaadzimu of the shona people of Zimbabwe are idiophones as well. o There is a great range of performance techniques for idiophones, including striking, rubbing, shaking, plucking (on the mbira), stamping, and clapping. o A tambourine functions as a membranophone and an idiophone when the membrane (head) is struck, causing the membrane itself (the membranophone part of the instrument) as well as the jingles (the idiophone part) to sound simultaneously. If a tambourine is shaken, however, it is heard as a pure idiophone, since shaking action does not activate the membrane sufficiently to make it audible.

3-8 Fanfara din Cozmesti, Cantecul Miresei

o In Eastern European countries like Bulgaria and Romania, music with meters of 5,7,11, or 13 beats is common. 3-8 features a Roma brass band from Romania playing a dance tune with a meter of seven fast beats per measure (2+2+3). That is how Western music analysts describe this meter, in any case. Roma themselves would say this is essentially a triple meter, with two "short" beats followed by a "long" beat ever measure. o horn o Cantecul Miresei o Brass instruments so aerophones? o seven meter o complex meter

Harmony

o In some types of music, each note of the melody becomes the basis of its own chord. This results in what will be referred to in this text as harmonization (though formally trained musicians may describe it instead as homophony).

5-14 Central Javanese Gamelan, Ketawang Puspawarna (same as 6-6)

o Indonesian rebab (the two string fiddle heard at the beginning of 5-14) - chordophone. o Ketawang Puspawarna o fiddle - chordophone o also idiophone and membranophone o What about the bell like sounds?????....;.;

Five Propositions about Music

o Made in response to the questions: - What is music? - What factors account for people's many and vastly different views of what music is, and what it is not? - Given that there is not even general agreement about what music is in the first place, how might we establish a reasonable, common point of departure from which to begin our exploration of music-world music. o They provide a point of departure for considering what music is- and what it is not. o The propositions represent the views that are widely shared among people interested in the study of music as a worldwide phenomenon. o This approach emphasizes the importance of maintaining an open minded perspective when exploring world music. In keeping with this idea, these propositions represent views that are widely shared among people interested in the study of music as a worldwide phenomenon. o Proposition 1: The Basic Property of All Music Is Sound

Polyrhythm

o Multiple part textures need not be built from or even include melodies; two or more distinct rhythmic lines performed at the same time can also create polyphony. o Polyrhytmic is the term used to described music in which there are several different parts or layers, with each defined mainly by its distinctive rhythmic character rather than by melodies or chords.

Monophonic

o Music with single line (monophonic) textures are the simplest type of texture. o Music with single line (monophonic) textures is not limited to performances by a single musician. Two, ten, a hundred, or five thousand individuals can contribute to a monophonic texture, so long as all of them play or sing together in unison, that is, perform the same sequence of pitches in the same rhythm.

3-6 Hossam Ramzy, Alla Hai

o The Egyptian dance rhythm here in 3-6 is in a duple meter; each of the low pitched "Dum" strokes on the drums marks one beat; higher pitched 'ted' strokes fall in between the main beats (i.e., subdividing the beats) at different points. o and there is a doyra in Alla Hai o Alla Hai o Duple meter o Instruments??? o membranophone and? Played on a doyra which is like a tambourine so probably part membranophone part idiophone.

Rhythm

A strong, regular, repeated pattern of movement or sound. o When we speak of rhythm, we are dealing with how the sounds and silences of music are organized in time. o In Western music terminology, the faster moving notes are usually called sixteenth notes, the medium speed ones eighth notes, and the slower ones quarter notes.

6-12 Tebogo Tshotesi, Xai (Elephants)

o An example of an ostinato based musical form is found in 6-12. This is a piece entitled "Xai" (Elephants). It comes form the Qwii people (aka Bushmen or San) of the Kalahari Desert in Southern Africa. The instrument is an nkokwane, a Qwii hunting bow that doubles as a struck chordophone instrument. The "string" of the bow is struck with either an arrow or a stick. Two different tones (with different pitches) are produced, as well as a wide range of timbres. The basic ostianto pattern of "Xai" repeats roughly every two seconds (or every six "beats"). As you listen, notice how the ostinato is subtly varied from statement to statement, rarely being repeated exactly the same way twice. The continual presence of the ostinato and its perpetually varied repetition offer both continuity and variety, sameness and contrast. o Xai o Struck chordophone o Ostinato o Wide range of timbres

3-12 Jasbir Jassi, Kudi Kudi

o Another good sounds for hearing syncopation is "Kudi, Kudi," by Jasper Jassi. This is a bhangra song from India. The rhythmic accompaniment of the drums outlines a strong, steady beat. Against this, shouts of the vocable "Hoi!" create syncopated accents between the main beats. o this piece is an example of syncopated rhythm o Vocables o Kudi Kudi o drums so membranophone o syncopated o duple meter?

Call-and-response (antiphonal)

o Call and response is another very important musical process linked integrally to the subject of musical texture. As its name implies, call and response involves back and forth alternation between different instrument or voice parts. The conversational element of music present in so many traditions is nowhere more apparent than in call and response dialogue. It can occur between a lead singer and a group of background singers, a singer and an instrumentalist, two groups of instrumentalists, two groups of singers, or any other such combination. PL 6-11 features call and response singing between a lead vocalist and a group of vocalists. The call and response vocal parts are presented over an accompaniment of polyrhythmic percussion at 0:40, following the all percussion introduction. This example is by the West African musician Seckou Keita.

• Chordophones

o Chordophones are instruments in which the sound is activated by the vibration of a string or strings (chords) over a resonating chamber. o The guitar, harp, violin, banjo, mandolin, hammered dulcimer, Middle Eastern 'ud (5-12), South Indian vina (5-13), and Indonesian rebab (the two string fiddle heard at the beginning of 5-14) are all chordophones. East Again board zither chordophones such as the Japanese koto (5-15) and the Chinese Zheng (5-16) represent an important chordophone subcategory that has been in existence for many, many centuries. o Although all chordophones depend on the activation of some kind of "string" (or "strings") to produce sound, the methods of sounds activation vary. Plucking, bowing, rubbing, or even striking the strings are all possibilities, and various implements - fingertips, plectra (guitar pick), bows, or mallets - may be involved. o The piano is a chordophone of a rather unique type.

Identity

o Conceptions of music throughout the world are closely tied to conceptions of identity, that is, to people's ideas about who they are and what unties them with or distinguishes them from other people and entities: individuals, families, communities, institutions, cultures, societies, nations, supernatural powers. o To a significant degree, music always provides partial answers to two fundamental questions: Who am I? and Who are we? o It also will cause you to identify and socialize with certain individuals, groups, and communities more than others - the "we" portion of your identity. On the "I" level, connecting yourself to hiphop and its musicultural world (or worlds) may impact your self esteem, your sense of fashion, your approaches to expressing yourself and communicating with others. on the "we" level, it may lead to new friendships with like-minded listeners or to a shift away from spending time with old friends and acquittances who do not share your passion. o Music also frames identity in regards to a related pair of questions :who is she (or he)? and who are they? When you first encounter a new kind of music you tend to immediately begin forming ideas about the people making the music and what culture they come from. o Disparities exist between how musicians represent themselves and their culture versus how they are represented by others. o You also may find your own assumptions about the music you hear - your notions about whether it is traditional or modern, authentic or inauthentic - turned upside down in the face of historical and contextual realities. o Identity is located in music at many different levels. Socities, cultures, nations, transnational communities, and other large scale social units fundamentally define people's connections of who they themselves are and who other people are, at home and throughout the world.

Cycle

o Cyclic forms are similar to ostinato based forms but the repeated unit of the cycle is typically longer than that of an ostinato. The majority of blues songs are in a cyclic form called the 12 bar blues. Each cycle is 12 measures long and has the same basic chord progression as the others.

Duration

o Duration relates to how long or short a tone is. It is the basis of rhythm in music. o Duration is the property of the tone and rhythm is the musical correlate

Chapter 5 Amplitude Decibels Dynamics Dynamic range Hornbostel-Sachs classification system (associated with specific tracks above) • Chordophones • Aerophones • Membranophones • Idiophones • Electronophones

o Dynamics, timbre, and music instruments count for what the different tones of music sound like.

5-16 Haiqiong Deng, High Mountain, Flowing Water

o East Again board zither chordophones such as the Japanese koto (5-15) and the Chinese Zheng (5-16) represent an important chordophone subcategory that has been in existence for many, many centuries. o High Mountain, Flowing Water o Chordophone - zither

Ethnomusicology Fieldwork

o Ethnomusicology - an interdisciplinary academic field that draws on musicology, anthropology, and other disciplines in order to study the world's musics- makes a first priority of engaging music in ways that reveal cultural insights. o Ethnomusicologists are interested in understanding music as a musicultural phenomenon, that is, as a phenomenon where music as sound and music as culture are mutually reinforcing, and where the two are essentially inseparable from one another. o Fieldwork is a hallmark of ethnomusicological research. It usually involves living for an extended period of time among the people whose lives and music one researches, and often learning and performing their music as well.

Frequency

o Frequency, which becomes manifest in music as pitch, corresponds to how high or low a tone is. o Frequency is the property of tone and pitch is the musical correlate

Chord

o Notes of different pitch may occur either one after the other (sequentially) or simultaneously. Generally speaking, a series of notes presented one after the other yields a melody, whereas a group of two or more notes of different pitch sounded simultaneously yields a chord. o A chord that "makes sense" within the context of its musical style is called a harmony. Other musical traditions have theirs too, and these often have nothing whatsoever to do with what we perceive in the as sounding "right" or sounding "wrong". o Chords come in many varieties. Sometimes there is just a single chord underlying an entire piece of music. Other times the music moves steadily from one chord to another, creating what is known as a chord progression.

Proposition 2: The sounds (and silences) that comprise a musical work are organized in some way

o One marker of difference between music sounds and other types of sounds is that music sounds always emerge within some kind of organizational framework, whereas other sounds may not. o Music, then, is a form of organized sound.

Verse-Chorus (Strophic) form

o One of the most common formal designs featuring contrasting sections is the verse-chorus form. The main formal sections in a verse-chorus song are the alternating verses (A sections) and choruses (B sections). Other sections may be incorporated into the form as well, including introduction, interludes, transitional passages, one or more improvised instrumental solos, and special ending (coda). If the song has lyrics, new words will usually appear in each successive verse, whereas the words of the chorus typically remain constant throughout. Musically speaking, the chorus is normally the part of the form that contains the hook, the catchy bit of the song that tends to stick in your head and (hopefully) make you want to hear it over and over again.

6-11 Secko Keita, Founé

o PL 6-11 features call and response singing between a lead vocalist and a group of vocalists. The call and response vocal parts are presented over an accompaniment of polyrhythmic percussion at 0:40, following the all percussion introduction. This example is by the West African musician Seckou Keita. o Founé o call and response o polyrhythmic o membranophone?

Pitch

o Pitch is the element of music having to do with the highness and lowness of musical tones. o Pitch is related to frequency o Musical tones, and indeed all sounds, result from vibrations (usually in the air) that create sound waves. The rate of vibration in a sound wave varies from one tone to another. Tones with many vibrations per second have high frequencies. Those with fewer vibrations per second have lower frequencies. o In western music, letter names are used to identify specific pitches. The letters used run from A to G, with additional pitched that fall in between them. o Labeling the pitches of tones with letter names only works in certain cases, such as fro voices and for instruments like the piano, guitar, violin, flute, trumpet, and xylophone, all of which are described as having determinate pitch. o The tones produced on other instruments - shakers, cymbals, triangles, most kinds of drums- cannot be identified by a single pitch letter name. These are instruments of indeterminate pitch, which means that rather than being dominated by just one pitch, the individual tones they produce generate many different pitches that compete for the ear's attention all at once, with no clear "winner" among them.

Nations and Nation-states

o Societies and cultures are often defined in relation to nations. o It is important when dealing with the relationship of music to nationhood to recognize a distinction between two terms: nation-state and nation. o The members of a nation-state share a national society, a national culture, and a national homeland. Canada is a nation-state. o The Palestinians share a society, a culture, and a strong sense of nationhood, but they do no (as of this writing) have political autonomy over the geographical area they claim as their homeland. Palestine is thus a nation without a state. o Nation-states and nations without states alike are catalysts for nationalist music traditions and musical nationalism. Nationalist music is often promoted by government and other official institutions to symbolize an idealized "national identity". o The range of raw materials from which nationalist musics are constructed is very broad. o Post-colonialism involves an interdisciplinary approach to inquiry that focuses on the lasting impact of colonization in former colonies, and it has become a fundamental component of much contemporary research in ethnomusicology. o Despite their diversity, all nationalist musics share the common feature of a nation building or nation consolidating agenda and typically emerge and develop through some form of collaboration between musicians and political authorities. o On the flip side of nationalist musics are often to be found musics of resistance, protest, and subversion.

Ostinato

o Some musical works and performances are built entirely from the repetition or varied repetition of a single musical pattern or phrase. A short figure that is repeated over and over again is called an ostinato. The ostinato is typically the smallest unit of organization upon which musical forms are built. o An example of an ostinato based musical form is found in 6-12. This is a piece entitled "Xai" (Elephants). It comes form the Qwii people (aka Bushmen or San) of the Kalahari Desert in Southern Africa. The instrument is an nkokwane, a Qwii hunting bow that doubles as a struck chordophone instrument. The "string" of the bow is struck with either an arrow or a stick. Two different tones (with different pitches) are produced, as well as a wide range of timbres. The basic ostianto pattern of "Xai" repeats roughly every two seconds (or every six "beats"). As you listen, notice how the ostinato is subtly varied from statement to statement, rarely being repeated exactly the same way twice. The continual presence of the ostinato and its perpetually varied repetition offer both continuity and variety, sameness and contrast. o Ostinato based forms may gain richness and complexity through a texture of layered ostinatos. In this type of texture, two or more ostinatos are "stacked" one on top of the other.

5-13 Karaikudi Subramaniam, Sarasasamadana (same as 3-16)

o South Indian vina (5-13) - chordophone

Timbre

o TO describe timbre is to attempt to account for the character or quality of a musical tone or tones. Differences in timbre are primarily what enable us to distinguish between the sounds of a trumpet and a flute. Tone of the exact same pitch, register, duration, and amplitude played on these instruments sound different. It is their distinct timbres that distinguish them from one another.

Polyphonic

o Textures in which there are two or more distinct parts are called polyphonic. Polyphony may result from the playing (or singing) of different parts on different instruments or it may occur in the part of a single instrument that can play more than one note at the same time, such as a piano or guitar. o Even a single human voice can create polyphony.

Proposition 3: Sounds are organized into music by people; thus music is a form of humanly organized sound

o The baseline assertion that helps us begin to distinguish between music and other organized sound is that music is a human phenomenon: it is a form of "humanly organized sound". o It is something that people make, hear, or assign to other kinds of sounds. o Birds and whales did not "sing" until human beings saw it fit to label their distinctive forms of vocalization with that musical term. o Any and all sounds have the potential to be employed and heard as musical sounds. However, only when a human being uses a given sounds for musical purposes, or perceives or describes that sounds in musical terms, does the sound actually enter into the domain of "music"

Tempo

o The element of tempo is one of the easiest aspects of rhythm to comprehend. o The word tempo (Italian for time) simply refers to the rate at which the beats pass in music. o Tempos range from very slow, to slow, medium slow, medium (moderate, edium fast, fast, and very fast. o Tempos may be constant (steady, unchanging, metronomic) or they may be variable (speeding up and/ or lowing down within the course of a performance. They may accelerate or decelerate, suddenly or gradually. o A gradual acceleration in temp is used as a device to heighten musical excitement in many music traditions, including Greek folk music. Listen to The Athenians performing "Zorba the Greek"in 3-14 and try clapping along with the beat, noticing how dramatically the tempo increases. If the temp acceleration is doing its job, as it were, the experience may give you an infusion of energy, perhaps even elevate your mood.

3-7 Mariachi Sol, Cielito Lindo

o The famous Mexican mariachi tune "Cielito Lindo" (beautiful Cielito, or Beautiful Sweetheart) is a triple meter song with the characteristics S-w-w three-beats-per-measure pattern. o Each strong (S) beat is marked by a low, bass notes each weak (w) beat by a strummed guitar chord. o Cielito Lindo o Triple meter o Chordophone and aerophone (trumpet)

Hornbostel-Sachs classification system (associated with specific tracks above)

o The most flexible and globally inclusive instrument classification system is the Hornbostel-Sachs classification system, which was originally published in 1914 by two eminent German musicologists. o This system identifies four principal instrument categories, with numerous subdivisions for each: chordophones, aerophones, membranophones, and idiophones. A fifth category, electronophones (or electrophones), was added later.

Accents and syncopation

o The notes of rhythms that are given special emphasis and a little extra "oomph" during a musical performance are called accents, or accented notes. Usually an accent is produced by simply playing one note more loudly than the notes surrounding it. o Accents often fall directly with the main beats, but they may fall in between the beats as well. o An accented note that falls between beats is called a syncopation. o in "I got you (I feel good)" is an excellent example of highly syncopated music: the ascending horn line at 0:18 right after Brown sings the line "So good, so good, I got you," is pure syncopation, with all five horn notes falling in between the beats. o Another good sounds for hearing syncopation is "Kudi, Kudi," by Jasper Jassi. This is a bhangra song from India. The rhythmic accompaniment of the drums outlines a strong, steady beat. Against this, shouts of the vocable "How!" create syncopated accents between the main beats.

Texture

o The notes, rhythms, melodies, patterns, and vocal and instrumental parts of a musical work relate to each other in specific ways. The kinds of relationships that exist between them define the element of music called texture.

Octave

o The pitch system for most western music is based on the series of 12 determinate pitches that are laid out as the white and black keys on a piano keyboard o The octave is a musical phenomenon that is nearly universally recognized in the world's music traditions (though it is known by many different names in different cultures and languages). Its existence explains why a man and a woman can sing the exact same melody together even though the woman's voice produces much higher pitches than the man's. Men and women sing in different octave ranges (or registers).

Phonograph

o The production of recordings, and the very capacity to create them, has revolutionized the making, reception, perception, and meaning of music on a global scale since the invention of the phonograph (the original music recording machine) by Thomas Edison in 1877. o First recorded sounds on phonograph in 1877 by Thomas Edison o First human voice recorded. We don't know what George Washington's voice sounded like o It changed humans relation to sound o Aka gramophone, consists of a large bell, needle, sound goes into bell and vibrates the needle and makes etches and then turns it around and the etches on the wax cylinder hit the needles then it vibrates the bell, I think! o In 20s phonograph became commercial product: purpose to listen to music. But they did not have music for it. So people would randomly start recording people. All over the world. All of a sudden these records were mass marketed. o So you had people in Shanghai listening to tango o The world became aware of music they had never heard before o 1930s. record industry collapsed. Went dormant to post war era.

Dynamic range

o The range between the softest and loudest notes.

• Aerophones

o The sounds of aerophones emerge from vibrations created by the action of air passing through a tube or some other kind of resonator. o The Western flute, clarinet, bassoon, and oboe are aerophones, as well as Western brass instruments such as the trumpet, trombone, French horn, and tuba. The pipe organ is also an aerophone, since it's sound, too, is activated by the passage of air through tubes. Other aerophones include bamboo panpipes (5-17), the Japanese Shakuhachi flute (5-18) , the Irish tin whistle (5-19), and the didgeridoo (5-20). o The human voice is also an aerophone

Diaspora

o The term diaspora refers to an international network of communities linked together by identification with a common ancestral homeland and culture. o People in a diaspora exist in a condition of living away from their "homeland," often with no guarantee, or even likelihood, of return. o The vast geographical and cultural expanse of the African diaspora today encompasses all of these diverse communities. Their collective contributions to the global landscape of musical culture cannot be overestimated. The Irish diaspora also has had a profound historical and modern impact on the world of music. o The dissemination of music via these electronic media is in many cases proving to be a major piece of the puzzle in new forms of transnational identity formation.

Proposition 4: Music is a product of human intention and perception and HIP Approach

o There are two basic processes of human cognition involved in determining what is and what is not music: intention and perception. o when any sounds, series of sounds, or combination of sounds is organized by a person or a group of people and presented as "music"- that is, with the intention that it be heard as music - our point of departure will be to treat it as music. o Similarly, when any person or group of persons perceives a sound, series of sounds, or combination of sounds as "music," our point of departure will be to treat that as music too. o The value of this approach - which I refer to for convince as the HIP (human intention and perception) approach- is that it (1) privileges inclusiveness over exclusiveness and (2) emphasizes the idea that music is inseparable from the people who make and experience it. o Ex: John cage intended his 4'33" to be musical and some people probably heard it as such so it is music.

Free Rhythm

o Thus far, our discussion of the elements of rhythm has related specifically to music in which there is a discernible beat, and in turn a discernible meter and tempo as well. Such music is called metric music. Not all music is metric. Much of it is non metric, or in free rhythm. o Music in free rhythm does not have a discernible beat. o It tends to float across time rather than march in step to it. o 3-16 beings with music played in free rhythm on an instrument from South India called the vina. Then, just before the drum (called a mrdangam) enters , a beat is established and the drum part marks out a metric cycle of eight beats.

tone

o To distinguish music sounds from other kinds of sounds (noise sounds, speech sounds, ambient sounds, etc), we will use the term tone to designate a music sound. o A tone is a sound whose principal identity is a musical identity, as defined by people (though not necessarily all people) who make or experience that sound. o Every tone possesses four basic physical properties: - Duration (length) - Frequency (pitch) - Amplitude (loudness) - Timbre (quality of sound, tone color) o Tones acquire cultural meanings from the symbolic associations that people attach to them, associations that extend far beyond music sound itself. o Any and all sounds have the potential to be tones, that is, to be music sounds. o The classification of sounds as music sounds (tones) or as nonmusical sounds is principally a product of people's intentions and perceptions regarding sounds. o tones are defined by the musical environments that surround them. Each tone gains musical meaning through its relationships with other tones. It is through these relationships that the building blocks of music - its melodies, chords, rhythms, and textures - are formed.

Melody

o To track pitch in a song, we follow how the notes go "up" and "down" from one to the next. The resulting sequence of pitches constitutes the song's melody. The resulting sequence of pitches constitutes the song's melody. Every melody has at least three distinctive features: - Melodic range: The distance in pitch from the lowest note to the highest note - Melodic direction: The upward (ascending) and/ or downward (Descending) movement of the melody as it progresses from note to note. - Melodic contour: The overall "shape" of the melody, which is a product of its range, direction, and other features. o The melodic range of the song heard in 4-1 is considerably larger than that of "Mary Had a Little Lamb," and other characteristics of the melody are different in distinctive ways as well. This is an Eagle Dance song of the Northern Arapaho people. Such songs are frequently played in accompaniment of competitive dance performances at Native American and First Nations powwow celebrations.

Culture (Tyler Definition)

o Understanding music as a phenomenon of culture is always important, but is perhaps especially so when dealing with music from a global perspective, since the cultural information embedded in any given type of music may actually reveal more about what makes it meaningful to people than even the sounds themselves o in 1871, Edward Tylor, a seminal figure in the history of anthropology, defined culture as "that complex whole which includes knowledge, belief, art, law, morals, custom, and any other capabilities and habits acquired by man [humankind as a member of society". o As the Tylor definition implies, the study of culture encompasses most everything having to do with people's lives as members of human communities; their religions and political systems; their languages and technologies; their rituals and dances; their modes of work and play; the things that make them laugh and cry; what they wear and what they eat; and of course, the music they make and listen to. o But what is the community, or what are the communities, that define a culture? There are often blends of cultures. There is no clear answer to such a question; indeed, there is no clear best starting point from which to begin addressing it o Music is a mode of cultural production and representation that reveals much about the workings of culture, from the resilience of traditional ways to our remarkable human capacities for adaptation, innovation, and transformation.

Proposition 5: the term music is inescapably tied to Western culture and its assumptions And Ethnocentrism

o We can now say that music is a category of humanly organized sound that takes its core identity from the musical intentions and perceptions of its makers and listeners. That would be a solid point of departure for our journey were it not for the fact that many of the world's peoples do not even have a word equivalent to music in their languages. o So while every human culture in the world has produced forms of organized sound that we in the West consider music, many of these cultures do not categorize their own "music" as music at all. o it seems that our concept of music, however broad and open-minded we try to make it, cannot transcend its Western cultural moorings. o We are apparently doomed to a certain measure of ethnocentrism; that is, we cannot help but impose our own culturally grounded perspectives, biases, and assumptions on practices and life ways that are different from our own. o What options do we have for confronting this dilemma? We can 1. Avoid dealing with these problematic phenomena of sounds in musical terms altogether 2. Impose western musical concepts on them, in essence "converting" them into music on our terms (treating Qur'anic recitation as music regardless of the Muslim claim that it is not music) 3. Try to find some way to integrate and balance our own perceptions of what we hear as "music" with the indigenous terms and concepts used by other people when describing the same phenomena.

Frances Densmore

o Went into the world and recorded their sound and looked at it with their culture o American anthropologist o A lot of wax cylinders of theirs preserved

Dynamics

o When we speak of dynamic in music, we are referring to how loud or how soft the different tones are; in the words, to their amplitude. o Music is filled with "small" and "big" sounds covering a continuum from silence at one extreme to potentially deafening loudness at the other. The various gradations along the way (very soft, soft, medium, loud, very loud) account for dynamics. o Crescendo - gradually gets louder o Decrescendo - it gets gradually softer o Terraced dynamics - goes from soft to loud and from loud to soft quite suddenly rather than gradually.

Form

o form is the aspect of music that pertains to the large scale dimensions of musical organization. When we study form, we are interested in how musical works and performances develop and take shape from start to finish, phrase by phrase and section by section.

Subdivision

o in most music, the individual beats are divided into smaller rhythmic units. This results in rhythmic subdivision. o Two evenly spaced notes per beat create duple subdivision, which features prominently in the opening 20 seconds of Billie Jean. o o The Egyptian dance rhythm hear in 3-6 is in a duple meter; each of the low pitched "Dum" strokes on the drums marks one beat; higher pitched 'ted' strokes fall in between the main beats (i.e., subdividing the beats) at different points. o Four evenly spaced notes per beat create quadruple subdivision, where all four notes are squeezed into the space of just a single beat. o Triple subdivision is also common. The "Row, Row, Row, Your Boat" is an example. Sing the line "Mer-ri-ly, mer-ri-ly, mer-ri-ly, mer-ri-ly" while clapping out the beats and you will notice that each syllable occupies exactly one third of a beat; in other words, there is triple subdivision. o o The famous Mexican mariachi tune "Cielito Lindo" (beautiful Cielito, or Beautiful Sweetheart) is a triple meter song with the characteristics S-w-w three-beats-per-measure pattern. o Each strong (S) beat is marked by a low, bass notes each weak (w) beat by a strummed guitar chord.

Decibels

o in scientific terms, the amplitude of a tone is measured in decibels.

Meter

o just as individual beats can be subdivided into smaller rhythmic units, they may also be grouped together to form larger units. In Western music, such a grouping of beats is called a measure (or bar) and the number of beats in a measure defines the music's meter. o Meters of two (duple), three (triple), and four (quadruple) beats per measure are the most common in the West and in many other parts of the world as well. o The alphabet song is in a meter of four. A consisted, four beat pattern of strong beats (S), weak beats (w), and medium strength beats (M) is repeated continuously throughout the entire song. o "The Star Spangled Banner" is in a meter of three. Here, each measure follows a consistent, recurring, strong-weak-weak three beat pattern. o Rather than consisting of two, three, or four beats, or even five or seven beats, a "measure" may consist of as many as 108 or 256 beats! For these longer types of meters, we usually speak of a metric cycle rather than a measure or bar when describing how the beats are grouped and organized. o In Eastern European countries like Bulgaria and Romania, music with meters of 5,7,11, or 13 beats is common. 3-8 features a Roma brass band from Romania playing a dance tune with a meter of seven fast beats per measure (2+2+3). That is how Western music analysts describe this meter, in any case. Roma themselves would say this is essentially a triple meter, with two "short" beats followed by a "long" beat ever measure.

5-19 Seamus Ennis, The Thrush Anin the Straw

o the Irish tin whistle (5-19) - aerophone o The Thrush Anin the Straw o aerophone

Range

o the different octave registers (pitch ranges) in which particular instruments and voices perform (e.g., the range of a tuba is much lower than the range of a flute)

• Electronophones

o the newest and by far the fastest growing category of instruments. There are two main subcategories: the "pure" electronophones, such as synthesizers and digital samplers, in which electronics are used to generate the sound and to amplify and enhance It; and the "hybrid" electronophones, such as the electric guitar, which are basically modified versions of conventional acoustic instruments that make use of electronic methods of sound amplification and processing. o Here is an easy way to tell the difference between the two: if you have to plug in an electronophone to make it function as the instrument it was designed to be, it is a pure electronophone; if it can function, at least marginally, without electric power, it is a hybrid electronophone. o For all their complexity and variety, the various electronic music instruments included in such systems can be broken down into two main, interrelated categories: sound generators and sound modifiers. o Today, technological advances and miniaturization make it possible to contain a complete music production system with software based sound generators and modifiers on a standard laptop. In the past, comparable systems would have taken up an entire large room o The fluid merging of acoustic and electronically generated sound made possible by digital sampling and other advanced technologies has been an important factor in the growth in recent decades of electroacoustic music, which combines sonorities of purely acoustic and purely electronic origin in innovative ways. o The amplifier is to an electronic music instrument what the resonator is to an acoustic one; similarly, different "effects" are often to music electronics what different acoustical spaces (the physical environments in which music performances take place) are to music that is not electronically processed.