MUSI 1004 EXAM 2

Hindustani

the cultural traditions of *northern India* -reflects the diversity of northern India and has less of a religious influence -relies heavily on improvisation

Carnatic

the cultural traditions of *south India* -instruments accompanied by vocals and highly tied to the Hindu religion -not very influenced by outside nations -shorter compositions that are composed rather than improvised

Jor

the section of *indian classical music* where a regularization of the beat in the opening section of raga occurs -tempo increases and higher pitches are highlighted

Pi Nai

*Thailand* - in classical piphat -quadruple reed aerophone -its style indicates that it plays with percussion instruments

Khaen

*Northeast Thailand* -a bamboo mouth organ -capable of clusters of pitches which form sounds analogous of westernchords *harmony* -found in ISAN region

Tabla

*Northern India* -pair of *pitched* drums -smaller one called tabla, larger one called baya -always tuned to the drone system -rhythm establishes the changed sections

Bhajan

*Southern India* -*harmonium* used for this style of music (its a free reed organ pump -tabla and dandtal establish the rhythm -singing = *call and response* but they finish the lines, they dont repeat them -played in a group --> *religious*

Carnatic Classical Kriti

*Southern India* -music based on *fixed compositions*, not as improvised as the north -devotional song based off of Hindu poetry -typically in 3 sections--> 72 possible scale forms and 36,000 possible ragas -*VOCAL*

P'ansori

*Korea* -*wailing vocal of a woman* accompanied by puk drum and man who chants sometimes -very emotional epic length stories -*cyclacle* drumming but cycle is long -unusual high range of vocal pitches

Puk

*Korea* -in P'ansori narrative -shallow barrell drums with two tacked heads -one side beat with stick, other with hand

Sruti Box

*Southern Instrument* -electrophone -small box that emits electric pitches -gives the continuous *drone*

Lam Klawn

*Laos and Northeast Thailand* - vocal repartee played with the *Khaen* --> most important instrument -folk tradition for festival and ritual entertainment -singer is a professional while khaen player may be amateur -secular music poetry depicts a mock courtship

Luk Thung

*Laos and Northeast Thailand* -*modern* instruments (electric guitar* *mimic the melody of traditional instruments -pentatonic scale -popular music where *singer often switches regional languages*

Morin khuur

*Mongolia* -in Urtin Duu with Khoomei -a bowed lute with a horse head carved into the top

Jianhnan Sizhu

*China* -"Silk and Bamboo" plucked bowed chordophones and aerophones (vert & horiz. flutes) -certain level of *ornamentation* allowed -*erhu, yangqin, pipa, dizi* -play the 7 regular pitches of the D scale -clear *duple meter* with downbeats and upbeats

Jingju

*China* -*beijing opera* -nasal high range vocal with "civil vs. military instruments" -singing improvised to the "modal system" -traditional music with minimal props and characters based on archetypes

Yangbanxi

*China* -*revolutionary beijin opera* -WESTERN ORCHESTRA with percussion and voices similar to jinju -used as *propaganda* -has harmony, counterpoint and orchestration

Confucianism

*China* -based on the teachings of Confucius - emphasizes behaviors related to human interaction *human to human*

Erhu

*China* -in Jiang Shizhu -fiddle with wooden resonator and snake skin -creates a sliding sound

Yangqin

*China* -in Jiang Shizhu -hammered zither with six bridges and played with bamboo beaters -used as an accompanying instrument

Pipa

*China* -in Jiang Shizhu -pear shaped plucked lute that uses all 12 tones of the tuning system -plucked in an *outward* fashion

Mao Zedong

*China* -leader of China's communist party from 1920-1976 -used the power of music and theater as weapons of propaganda with the help of his wife

Tablature

*China* -notation for *Guqin* that indicates how to pluck, stop or touch each string rather than indicating a pitch -up to *performer* to express meaning in rendition

Taoism

*China* -philosophy advocating humility and religious piety -interaction with *human and nature*

Guquin

*China* -played by itself -wooden bridgless plucked zither with seven strings -playing is characterized by the use of frequent overtones -associated with Confucius and scholars -*utilizes the written system of tablature*

Zen Buddhism

*China* -study of self -emphasizes insight into nature of Buddha and personal expression to nature and everyday life

Bols

*India* *mnemonic syllables corresponding to drum strokes* in Indian drumming tradition

Tala

*India* -*rhythmic cycles* that organize a raga -this is a CIRCULAR rhythm, not a linear one

Guru

*India* -a *teacher* or spiritual guide primarily associated with the Hindu traditions -one aligns themselves with this person--> fully immerses themselves in their ways and completely takes up their practice

Sarod

*India* -fretless plucked lute -*tonebending* ornaments that define Raga -substitutes for sitar

Tambura

*India* -fretless plucked lute that also presents the *drone* of raga -round bodied gourd -tuned to pillar scale: only plays tunes on the *1 and 5 scale*

Sitar

*India* -main melodic instrument that embodies indian music -fretted lute with sympathetic strings -famous indian guy plays this

Alap

*India* In Raga Classical Indian Music, this is the opening: *freely rhythmic* peiod of *improvisation* SOLELY FOR EXPLORING SCALES, PITCHES, AND MOOD

Rasa

*Indian Classical Music* -*mood*/ expression or sentiment of the artist playing the Raga

Raga

*Indian Classical Music* -mode/ *system of rules an expectations* for composition and improvisation -"composition kit" *1) tonal materials* *2) melodic fragments* *3) extra-musical associations*

Balinese Gamelan Kebyar

*Indonesia* -many sudden musical flourishes -abrupt, coordinated silences -music has a constant sense of shifting mood -different sections of instruments in the ensemble often have solos -embellishment of the melody is highlighted *interlocking thick rhythmic density*

Javanese court gamelan

*Indonesia* -primarily idiophones -*soft and strong* styles -*colotomic structure* : punctuated by hanging gongs -two tuning systems: *slendro and pelog* -tranquility and use of all instruments of the ensemble sounding throughout the piece maintains a balanced texture

Gong Ageng

*Indonesia* -the *largest* gong of a *gamelan* ensemble

Bonang

*Indonesia* a rack gong found in *gamelan* ensembles

Kabuki

*Japan* -*theater* with twangy plucked lute, flute, and small drums with a storyteller & all male actors (SAMURI) -*deliberate and refined* --> the movement is slow and consists of static postures -"yo & ho" -minimalist -unblended

Sankyoku

*Japan* -classical instrumental chamber music -*zither,lute and flute* = 3 main -emphasis on the use of *silence* (zen buddhism) -sounds free but is *composed* -heterophony -skilled musicians, formal specific story line

Shamisen

*Japan* -in Sankyoku Chamber Music -plucked lute with a square neck and a long body -plucked with something that looks like an ice scraper

Koto

*Japan* -in Sankyoku Chamber Music -wooden board plucked zither -pitches along with a pentatonic scale

Shakuhachi

*Japan* -in Sankyoku Chamber Music -vertical bamboo flute with nine holes and a sharp edge to split air

Piphat

*Thailand* -classical court ensemble music -nasal reed aerophone, a lot of percussion, cymbals, gongs and xylophones (*melodic and rhythmic percussion*) -tuning system is 7 *equidistant* in an *octave* -*end-accented* based on the ching

Tantric Buddhism

*Tibet* -*systematic/physical* way of practicing Buddhism -practice of loving compassion -in tibet, this followed BONISM

Bonism

*Tibet* -animistic shamanism that had a preoccupation with death -at times there were human sacrifices -obsessed with death without dying

Dung Chen

*Tibet* -in Tibetan Buddhist Ritual -long metal trumpet with low tones -usually played in pairs

Dizi

*china* -in Jiang Sizhu -transverse bamboo flute that creates a subtle buzz almost like a kazoo

Jhala

*classical Indian Raga music* -the end of the Alap section where the music reached *maximum tempo and rhythmic density*

Gat

*indian classical raga* -this section coincides with the entry of the drums -*it is the skeletal melody/melodic fragment* -short, composed section that becomes the basis for further improvisation

pelog

*indonesia* -hectatonic tuning system --> 7 note

colotomic structure

*indonesia* -organizational structure of the gamelon music -music is organized into *cycles* and defined by *periodic punctuation* played by a specific instrument (GONG IN INDONESIA)

slendro

*indonesia* -pentatonic tuning system--> 5 tones

Khoomei

*mongolia* -*overtone/throat singing* -puts pressure on the *glottis* and shapes mouth cavity to bring out different *overtones* in singing -tied with shamanistic and animistic culture of mountain herders

Kriti

*southern India* -carnatic devotional song on Hindu poetry -usually solo and *secular* -carnatic music based on fixed compositions -performer is expected to ornament the composed melody

Tibetan Buddhist Ritual

*tibet* -incorporated tantric buddhism into music -low, gutteral chants to mimic the natural sound of the human body when all else is silent -dung chen trumpets

Metallophone

a subsection of *idiophones* consisting of several metal bars graduated in length to produce different pitches *gongs of indonesia are an example of this group*

Archetype

in *Beijing opera* the characters represent a *type* of person rather than a specific person -Ex: female, male, joker, villain

Heterophony

when multiple performers playing *simultaneous variations of the same line* of music