World Music Final

LG 74: "Shoshone Flag Song"

- A wide vocal range, each singer covers nearly a two-octave ranges. Furlong "doubles" or "seconds" Bonatsie, singing the same melody an octave higher. - Bonatsie sometimes uses the falsetto register to sing the highest notes - A slow, deliberate tempo appropriate for a flag ceremony - The use of vocables, and ululation at the conclusion of the song - Form: Iterative verses; Source: Adopted by Shoshone singers from a Cheyenne Flag Song heard in Lame Deer, Montana, at the Northern Cheyenne reservation - Function: To salute the presentation of the flag following the Grand Entry, which begins every powwow - Tempo: Moderately slow

MO: Los Tigres del Norte - "Contrabando y Traicion"

- About drugs and drug smuggling and drug lord - polka in two meter - enhanced w escape of El Chapo

MO: "Follow the Drinking Gourd

- They are talking about following the big dipper to freedom. - It was sung by slaves. - Repetitive text - Crescendo and decrescendo; two voices: solos and harmonies - slows down at the end.

ICON: Dejan's Olympia Brass Band - "Amazing Grace"

- Very Slow - Lags and scooping as a sense of not wanting to make it to the final resting place - played at jazz funerals on the way to the cemetery.

LG 54 "Kembang Pencak"

-A traditional kebyar opening section played by the entire gamelan - traditional and innovative elements. - Windha's Kembang Pancak combines diverse ingredients, has unstable and asymmetrical sections, and changes textures and tempos w dizzying speed. Innovations include hitting cymbals w sticks rather than crashing them together and an unaccompanied section for a male chorus doubling as dancers. Mode and melody - Prominence of five-note melodies in pelog introduced by flute and varied by other gamelan instruments Vocal section - The use of an unaccompanied (a cappella) male choir for Part 2, punctuated by a jegogen solo Genre: Kreasi baru, a "new artistic creation" for gamelan, male dancers, and singers Form: Based on traditional five-part structure, of which the first three are heard here, with expanded and innovative percussion sections Function: Entertainment, personal reflection Tempo: Variable, moderate to fast Mode: Pelog

LG 71: "Nkosi Sikelel' iAfrica"

-Religious text and harmony reflecting the influence of Christian missions - Words from several South African Nguni languages: Zulu, Xhosa, and Sesotho - Predominantly homophonic texture, with prominent use of Western harmony - The influence of indigenous South African singing traditions, including call-and-response sections and vocal slides - Parallel motion between the low (bass) and high (soprano) voices - Form: Strophic hymn with verse and refrain - Function: Hymn; later, national anthem - Tempo: Moderate quadruple meter - Mode: Western major mode

LG 47: "Gregario Cortez"

-The narrative flow of the text, recounting the story of Gregorio Cortez -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 -Form: Strophic song -Function: Ballad transmitted by oral tradition and, beginning in 1920s, on ethnic recordings distributed on 78-rpm records -Tempo: Moderate, triple meter -waltz; consistent harmony in thirds Mexican American corrido (displays memories) - a true story of one man who made a difference (Gregorio Cortez) hero - simple, folkloric guitar w vocal harmony

LG 48: "When the Saints Go Marching In"

-The repeating sixteen-measure verse, divided into four phrases of four measures each Composition and Improvisation - The relationship between fixed elements of harmony, reinforced throughout by the sousaphone in the bass, against improvisation in other instruments - References 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 - Interaction between soloist, chorus, and the instruments - Genre: Spiritual or gospel hymn; played at jazz funerals in New Orleans on the way to the cemetery -Form: Strophic -Tempo: Lively, quadruple meter; relaxed rhythm; basic time keeping by percussion. - Trumpet plays the melody, sounds similar to taps w single trumpet in the beginning. - wide vibrato in melody instruments - sliding which causes the pitch to bend and gives sense of delay, cause headed to final resting place.

ICON: The Klezmatics - "Man in a Hat"

1. Bears homosexual connotations; discussing a man he loves 2. Multiplicity of identities 3. Convergence of Yiddish and English

ICON: Aaron Lebedeff - "Rumania, Rumania"

1. Recalls homeland: food, wine, women 2. Comical portrayal of bottles popping 3. Form hints at the doina. 4. Since this version is from the 1940s, it sounds more like swing music. 5. Doina: Let's the guests at weddings to pause and reflect on the more serious aspects of rituals. 1. Ex. Father of bride, reflects he is giving his daughter away and the bride and groom reflecting that it is the rest of their lives they will spend together.

LG 42: "Nobody Knows the Trouble I've Seen"

Arrangement and technique - The differences between the two performances. Ledbetter's rendition (42a) includes a quicker tempo and more jazzy eighth-note rhythms. The singers use very different vocal timbres and techniques. The chordal piano accompaniment of Robeson's performance (42b) contrasts with the simple guitar part played by Ledbetter, consisting of a bassline played on strong beats and chords on the weak beats. -Differences between the texts of the two performances, both in the refrain and in the first verse A= The call-and-response patterns between Ledbetter and his wife; accompanied guitar. -Form: Strophic form with refrain Tempo: Moderate, somewhat upbeat, quadruple meter B= Form: Strophic form with refrain Tempo: Moderately slow, quadruple meter - more European classical interpretation - accompanied by piano

LG 36: "Scotland the Brave"

Ensemble sound - Massive sound of the pipe band, whose chanters have a range of just over an octave and whose drones provide a constant harmonic background Grace notes - Gracing that separate and embellish pitches. Sound is continuous. Cutting, doubling Range - over an octave, provide a constant harmonic background Ornamentation - Compound ornaments, which consist of several grace notes in rapid succession, including doubling, birl, and grips Form: a a' b a' phrase structure Function: A march played at parades and other public occasions Tempo: Moderate quadruple meter - double reed aerophone - changes dynamics

LG 75: "Flag Song For Desert Storm"

Flag Song form - A formal organization similar to that of the Shoshone Flag Song - A faster tempo, supported by a regular drumbeat - A text that honors veterans of the 1991 Gulf War - Function: To salute the flag following the Grand Entry - Tempo: Moderately fast

ICON: "Final Scene in Kecak from Bali"

Function: Loosely religious, but mostly for tourism Location: Bali, Indonesia Form: Kecak

LG 39: "Lament for Mary McLeod"

Ground melody - The basic melody, called ground in English, which consists of four phrases (a a b c) of sixteen beats each; the second phrase repeats the first, while the third and fourth phrases contrast the first, each starting the same, but ending differently -The sustained, low drone sounding continuously under the melody Variations - Subsequent, varied iterations of the four-phrase ground, called variations, incorporate differences in melodic contour, rhythm, and ornamentation. Each variation in a complete performance is "doubled," that is, played a second time increasing the number of pitches at a faster tempo. Form: Ground and variations Function: Historically performed on occasions of commemoration or mourning; by the late twentieth century, performed by virtuoso pipers at piping competitions Tempo: Very slow - Scottish

LG 53: "Samoan Moon"

Guitar effects - Effects particular to the lap steel guitar, including slides and harmonics. The harmonics are produced by touching the string lightly at its midpoint while it is plucked. - demonstrates the distinctive acoustic properties and playing styles of the lap guitar and ukulele characteristic sound of the steel guitar w vibrato, slides up and down to pitches and occasionally the production of audible overtones, led one ethnomusicologist to suggest that these ornaments alone can signify Hawaiian music to listeners outside of Hawaii Vocal techniques - Vocal techniques including yodeling, in which the singer intentionally produces a break in her tone as she switches from chest voice to head voice Form: Strophic song with instrumental interlude Function: Entertainment, personal reflection Tempo: Moderately slow triple meter

ICON: "Somewhere over the Rainbow"

Hawaiian song; duple meter; setting concert: reflecting, duel identities.

LG 23: "Jay Ganesh"

Indian instruments - Entry of a series of Indian musical instruments, including the plucked lute (tanpura), plucked zither (swaramandal), conch shell (shankh), double-reed aerophone (shehnai), paired membranophones (tabla), finger cymbals, and plucked lute (sitar) Atmosphere and resonance -Use of instruments such as the zither and lute, as well as the vibraphone — a twentieth-century Western electrophone (similar to a xylophone) incorporating a motor that produces vibrato — to provide atmosphere and resonance to the recording Rhythmic pattern - Use of six-beat rhythmic pattern (tala) in drums and cymbal - repetition of ritual text. Form: Hindu Aarati Function: Recording to be played at end of worship service (puja) for Ganesh to rectify any mistakes or faults in the ritual just performed. Location: Mumbai, India.

MO: "An Maidrín Rua" (The Fox)

Location: Ireland - Harp Genre: Celtic - Bridges the gap between old songs (sean-nos) to songs in English - The Red Fox is the English soldier - Repeatable rhythm, in old language then English -monophony texture: one voice

MO: "The Green Fields of Canada"

Location: United Kingdom - talks about migrating to Canada, how the parents can't leave - getting away from oppression.

LG 24: "Mum-bhai"

Meter and tempo - Moderate, regular quadruple rhythm moving at a steady rate of nearly two beats per second Vocal styles - Changing vocal articulations, moving from speech to heightened speech, to song - Multilingual text conveying local images Form: Strophic, with refrain Location: India, Masala - The music affected the film industry traditional music provided a basis for film

LG 40: "Ng Bak Loi Gimsaan"

Narrative content - Detailed narrative in five parts of Uncle Ng's migration and his experience as an immigrant Text and vocables - Alternation of lyrics (in boldface) with vocables (in standard type) -Groups of four, five, or six phrases that are similar in melodic and rhythmic content -Limited vocal range of about one octave Form: Flexible musical form with rhyming couplets and triplets Function: Personal narrative song performed alone or at social gatherings Tempo: Moderate; duple meter Location: China, Chinese muyu

LG 56: "Mido Mountain"

Pentatonic palette - Melodies and harmonies built on a pentatonic scale Cross-cultural ensemble - A unique juxtaposition of Western cello with an Indian membranophone (tabla), Chinese chordophones (pipa and erhu), and a Chinese aerophone (sheng: a chinese mouth organ made of bamboo pipes) Energetic performance - An energetic, virtuoso performance that is marketable and accessible to many different audiences Form: Three-part (ternary) form built on an ostinato (a short musical pattern that is repeated) Function: Concert performance and recordings Tempo: Moderate quadruple meter Song named after a village in China's Yunnan Province

LG 59: "Jummar"

Rhythmic patterns - Repeated eight-beat rhythmic patterns produced by the dhol and accompanying instruments, which shift subtly through the course of the example. Each beat of the eight-beat pattern can be counted as four fast beats. Dhol - The two heads of the dhol drum producing high (right) and low (left) sounds Algoza - The double flute (algoza), sustained by circular breathing; only the repeated eight-beat phrase can be heard; the drone of the second flute is drowned out by the volume of the drum Bugdu - The subtle humming sound of the bugdu Chimta - The sharp, clanging sound of the chimta (literally, "tongs"), a long iron strip bent double around the neck and intersected across the chest with a crossbar, often with attached metal discs Form: Drum roll followed by several variations of jhummar Function: To accompany dancing at night during the rainy season along river banks and for Sufi ceremonies; incorporated into bhangra after Independence (1947) Tempo: Moderate an excerpt of a traditional dhol rhythm,jhummar, that originated in the Punjab. According to Punjab oral tradition it was danced at night during the rainy season along river banks and for Sufi rituals, and it was incorporated into the bhangra repertory only after Indian Independece. -However, another source identified jhummar as a women's circular dance and song repertory accompanied by dholaki, the smaller, feminine version of the dhol. Whatever the precise origin of the jhummar rhythm in rural Punjabi culutre, it plays a prominent role in modern bhangra and lends its name to a common motion in bhangra choreography

LG 12: "Rag Des"

String resonance - The resonance of the strings as they are plucked with a wire plectrum called a mizrab, setting into motion the sympathetic strings that resonate in the background Function: Demonstration recording Location: North India

LG 22: "Atumpan"

Talking drum - Ability of the drum to talk, performing both new text and historical drum language Speech and drum contours - Manner in which the tonal contours of the spoken text are replicated by the subsequent drum phrase Form: Appellation (naming) text in Twi language Function: To glorify performer and his/her lineage; to demonstrate drum language. used for communication; shows a short narrative of history.

LG 21: "Agbadza"

Timeline - Rattles (axatse) supplying a 2 + 2 + 2 + 3 + 3 pattern, or timeline, operating as a central rhythmic reference for the drummers, singers, and dancers; clapping follows rattles Rhythmic texture - High-pitched stick drums (sogo and kidi), which fill out the timeline and respond to the master drummers Form: Excerpt from a polyphonic and polyrhythmic form Function: Used for social events and funerals; derived from a dance performed by fighters returning from war. The elaborate funerals commemorate the dead and the community of the dead. Location: Accra, Africa Call-and-response between lead singers and chorus

LG 33: "Araqro Ariraro"

Vocables - The vocables "araro ariraro," commonly used for lullabies, imitating the way babies cry Rhythm and text - The free rhythm shaped by meaningful text in the Tamil language Melodic content and contour - The melodic content and contours of raga nilambari, which differs in its pitch content and order on the ascent and descent (ascending: Sa Ri Ga Ma Dha Pa Dha Ni Sa; descending: Sa Ni Pa Ma Ga Ri Ga Sa). Listen for the distinctive descent from Ga down to Sa marking raga nilambari, which is always heard between the last two pitches of phrases b and d. Also note that the melody of these two phrases remain largely the same throughout the three repetitions of the four-phrase verse in the lullaby. Phrases a and c, however, descend only to Ga, and their melodies are varied slightly each time they occur in the three verses. Function: South Indian lullaby- imitates the way babies cry. conveys meaning on emotional and experiential levels. Sung to generations - Thought to have sleep-inducing impacts. Mode: Raga Nilambari (May be associated w time of day when they are performed or season)

LG 26: "The Ballad of Buddy McClean"

Vocal style and ensemble - Vocal style and instruments (guitar, banjo, accordion) typical of American folk music, along with Irish fiddle, frame drum, bagpipes, and pennywhistle, a small flute made of wood or plastic; uses total of four chords Form: Strophic ballad with refrain Strophic form - Traditional strophic ballad form, with alternation of verse and refrain Function: Commemoration of local hero; used to transmit history Tempo: Moderate tempo, triple meter Location: Irish American ballad

LG 60: "Aao Nachiye"

Vocal styles and textures - The complex mix of vocal articulations (song, shouts) and textures (call-and-response; unison singing; heterophony between voices and melody instruments) that lend variety to repetitive melodic content Offbeat accents - The use of offbeat accents, particularly emphasizing the second and fourth beats of a four-beat grouping to add rhythmic interest and syncopation to an otherwise regular metric structure -The inclusion of traditional instruments, including dhol, dholaki, and chimta Form: Two main sections (A and B) contrasting in performance style and melodic content, flanked by instrumental introduction and conclusion Tempo: Lively tempo with regular groupings of four-beat units

LG 37: "Canntaireachd"

Vocal technique - Vocal technique that uses vocables to transmit bagpipe melody and ornaments Range and register - Range of just about one octave, with the singer imitating bagpipe timbre by using a bright, full chest-voice for pitches at the bottom of this range and a lighter head-voice for the upper register. "Mouth music" Form: Two-part (binary) form Tempo: Upbeat and lively - Associated w men and the military

LG 1: "Artii-Sayir"

Vocal technique: -The distinctive sound of the kargyraa khoomii vocal technique, with a harmonic melody heard above the low fundamental Form - A single melody, repeated several times - The singer begins singing the low fundamental and almost immediately produces the audible upper harmonic. -overtone; multiple pitches being sung at the same time; shows how the performer can manipulate their voice -repeats same melody over and over again