Music as Culture Final

Gesellschaft Fur Musikfreunde

"Society for the Friends of Music"; institutional home to concert halls, archives, and artistic monuments that recognize the past history of Austrian music

volkstumlich

"folk-like" music of Central Europe, in which traditional folk and modern popular musics are often mixed schrammelmusik is one type

Chimurenga

"struggle" or "struggle against oppression" genre of pop music that emerged during 60s and 70s and combines mbira with drums, electric guitars, bass and horns support for political movement led by musician and activist Thomas Mapfumo illustrates political power of music

kutsinhira

"to accompany" the second accompanying part played by a second Shona mbira player

kushaura

"to lead the piece" the first part, or lead part played by one Shona mbira player

urban-popular guitar genres in Zimbabwe

1) jit: associated with dance drumming and songs performed in informal gatherings in Shona villages 2) most famous involves performance of classical mbira and dance-drumming music by electric dance bands

recurring issues in Latin American music

1) reliance of the style on mobilities of various kinds 2) the importance of race and ethnicity to the genre's meanings 3) the crucial role that hybridity plays in shaping the genre's sound 4) the deep impact of urbanization on the style's development

mobilities in Latin American music

1)simultaneous movements of sound and people between several important nodes (NYC, Cuba, and Puerto Rico) 2) secondary movement of sound and people to a wider range of locations, some of which later also became central nodes in a wider network 3) a development of solidarity in and around these mobilities

minority music in China

1911-1949 Chinese Republic changed policy towards minorities to one of aggressive assimilation (influenced by western concepts of nationalism and nation-state) under PRC, got a little bit better, but drew on Marxist unilinear revolutionary theory, by which Han were viewed as more advanced politically, economically, culturally and provided BS justification for Han to control and "help" minorities in 1950s "Songs for the MAsses" based on minority styles, propaganda tool for legitimizing PRC among minorities and fostering loyalty PRC created official representation of what it regards as authentic minority music

mbira

22 metal keys fastened over a metal bridge on a wooden soundboard with bottle caps attached to a metal plate on the board longest, lowest keys on mbira are found in center; the keys become shorter and higher as they fan out to each side (longer keys have lower pitch, shorter keys have higher pitch) keys on left side are played by the left thumb, and the right thumb and forefinger play the keys on the right side; right and left hand playing different melodies in between each other (interlocking parts typical of S African music) necklace of bottle caps strung around the gourd resonators, creating the buzzing sound without gourds, mbira too soft to hear in communal music making belongs to class of instruments known as lamellaphones (plucked tongues or keys mounted on a soundboard or soundbox) classical instrument of the Shona, a Bantu-speaking people of Zimbabwe in SE Africa; ensembles play interlocking, cyclical, repeated pieces - shakers/hand clapping to mark rhythm

currulao

Afro-Colombian, Afro-Ecuadorian dance context in the Pacific Coast region in which marimba is featured features the entire community and includes the marimba, single-headed conical drums in two sizes, two double-headed drums and bamboo shakers

the Suya

Amerindian people living within Brazil's Amazon rainforest vocal music, sometimes accompanied by rattles wide variety of vocal genres, range from speech-like and chanted oratory to different singing styles social organization determined by gender and age cohorts, and different singing styles and genres are pursued by each such sub-group within the community

Heuriger

Austrian wine garden, which is often a site for traditional music

The Aymara

Aymara-speaking amerindians living in highlands of Bolivia and Peru and N Chile preference for community over individuals flute and drum ensembles so prevalent among Aymara siku (cane panpipes) and large double-headed drums called bombos many types of flutes -- only a single type of flute is used in any one ensemble siku ensemble: large, formed for musical accompaniment for occasions like harvest festivals and life-cycle events; comprised of any male who wishes to participate, aesthetic of unity (wants to sound like a single entity) music performed in hocket fashion -- interlocking pitches between two of more sound sources to create a single melody or part (melodies structured so that two or more instruments (and players) are needed to realize the melody

obeah

Bahamian folk belief and practice derived from African models and concerned with controlling and deploying powers in service of good and evil

jiangnan sizhu

Chinese chamber instrumental ensemble made up of strings ("silk") and winds ("bamboo") popular in the areas around Shanghai pastime of gentry and educated classes of urban centers in Jiangnan region performers are amateurs who play for their own enjoyment pieces begin slowly and gradually accelerate, ending in a fast tempo; drum-and-clapper player is supposed to provide a beat for the music, players typically not super concerned with exact rhythm ; overall fuzzy timbral quality of this purely melodic music bc of combo of plucked and bowed strings with winds, also bc play in relatively high register and use several slightly different tunings extensive use of improvised embellishments on the basic melody => heterophony (two or more performers play the same melody, but with small differences in timing of ornamentation), adds to fuzzy/thick quality of melody use of technique of structural expansion called "fangman jiahua" in which musical materials are expanded by slowing down the tempo of the original melody, and as the notes of original melody become further apart temporally, other notes are inserted or interpolated considered kind of background music to enhance ambience of social environment

value/functions of music in China

Chinese equate enjoyment of music with natural human desire for aesthetic and sensual gratification like the taste for food, need for sex, and satisfaction of beautiful things Confucius maintained that music has positive and negative powers to stimulate related behavior and desire; positive music (shi yin) features attributes of harmoniousness, peacefulness, and appropriateness; negative music (chi yue) has inappropriate loudness and wanton noisiness and stimulated excessive and licentious behavior Mao Zedong, chairman of Communist party from 1949 to 1976, like Confucius viewed music and arts as important educational tools - important in propagation of state ideology

European music in peasant and folk societies

European ideas about music have a great deal to do with shared historical experiences and the ways these experiences have formed modern European societies Music played a role in expressing the common culture of a people bc it was in a shared language and was a part of daily lives/rituals music thought to be inseparable from essence of a culture, could express culture's past, share traits of a language, and articulate religious belief -- music differentiated one society from another on basis of national, regional, and linguistic styles -- "folk music," a particularly European concept folk music provided way for understanding both essence of a people and the ultimate expression of that essence in a national art music

Unified Europe

It is a continent, largely bounded by water linguistically, most peoples of Europe related culturally some sort of unity, although sometimes only results from barricading continent from Asia and Africa Religion unifies Europe, historically largely Christian EU = calls for political and economic unity individuals tend to identify more often with culture of the town, region, or nation in which they live (most identify more closely with regional musical style than with an abstract European unity); ex area surrounding Lake Constance in Central Europe

staatsoper

National, or "State," Opera of Austria, serving Habsburg court during Austro-Hungarian Empire, until WWI

musical directions in 20th century in china

Republic of China (1912-1949), its establishment represented a break with old values and practices, and in this process traditional music was neglected, new type of music born reformers contended that traditional Chinese music was unsuitable for modern classroom music ==> new type of school song created whose melodies were borrowed from school songs of West and of Japan, given didactic Chinese texts to inculcate new sense of nationalism in young students; songs were simple and short, limited range and a square, march-like rhythm, predominately syllabic; song texts were simple and direct messages related to patriotism, self-discipline, military readiness, and civic spiritedness As China faced challenges from West and Japan in early 20th century, protest songs were written - musical style of protest songs similar to school songs, text focused on current political issues and used terse, slogan-like language (predecessor of later political songs "Songs for the MAsses" developed by Chinese Communists) May Fourth Movement - 1919, broad national intellectual awakening, chancellor of National Peking University Cai, who wanted to synthesize Chinese classical tradition and libertarianism; felt reform of traditional movement was necessary to bring it up to date by borrowing elements from Western music Folk-Song campaign - encouraged educated youth to go to countryside to educate their parents, group of Beida students encountered folk song and folk art and recognized their value ==> collection/research of folk song May 4th Movement promoted use of Chinese vernacular as written medium of communication, young writers introduced a new popular literature that emulated Western forms May Fourth Movement ==> change in ideology of China's educated class bc of attack on Confucian values; condemn subordination of subject to ruler etc, and bc traditional Chinese musical theaters such as jingju promoted these feudal values, merit of them became subject for debate, created general disdain for traditional music and theater among modern educated class

quadrille

a dance, originating in Europe and adapted to Caribbean contexts historically performed by couples arranged in a square formation and following a series of set dance figures accompanied by rake 'n' scrape music

villancicos

a form of polyphonic song, either secular or sacred, important to the development of Latin American art music from the late 15th to the 18th century European influenced

tango-cancion

a form of tango music designed to be listened to instead of danced lyrics focused on misery, lost love, pain, longing for better times, violence, and effects of poverty

boogaloo

a musical genre envisioned as a crossover between latin and north american popular musics and actively pursued during the 1960s over by 1968

plena

a puerto rican folk song style associated with political and social protest and accompanied by frame drums and scrapers

mestizo

a relative term referring to people and a social identity involving the blending of European and Amerindian beliefs and cultural practices in the past used as a racial category, now more accurately denotes the variable incorporation of Iberian (Spanish and Portuguese) and indigenous cultural heritages

ostinato

a repeated or cyclical melody or rhythmic pattern african music is often cyclical and open-ended in form involving one or more repeated melodies or rhythmic patterns (ostinato) as the basic foundation of a performance community participation is valued -- repetition and long performances facilitate participation by giving non-specialized participants a chance to get their bearings and enter the performance

son

a strophic song usually on romantic themes and in many regions characterized by sesquialtera rhythm

salsa

a style of popular latin dance music roots in spanish-speaking caribbean

milonga

a style of song popular in the more rural areas of the Rio de la Plata region and influential during the early development of tango

diaspora

a term describing the movement of a group of people (generally sharing ethnic or national history) into forced exile. This exile in a place other than the group's ancestral homeland generally also precludes the possibility of return plays fundamental role throughout Caribbean West Africa, Europe, South Asia, East Asia, the Levant

syncretism

a term, used within religious studies, to describe processes of mixture between religious traditions

vallenato

a traditional music of Colombia that has also found expression as popular music since the middle of the 20th century history of mixture, combining elements of African, Amerindian, and European contributions within its sound ensembles of mid 1800s included european derived instruments like the guitar, instruments of the Amerindian and African provenance like the gaita (indigenous flute) Guacharaca (bamboo scraper) and caja (drum) modern ensemble at turn of 20th century, three-row button accordion incorporated primarily a dance genre hybridity but also urbanization, popular version of genre is characterized by move from rural to urban spaces

candomblé

afro-brazilian religion heavily involving West African religious beliefs and musical practices in brazil, african deities called orixas (or orisha) and each characterized by specific colors, songs, objects etc - each identified with one or more catholic saints to camouflage African beliefs not a singular, unified practice music for candomble ceremonies important bc used to summon the gods three drums - the atabaques (largest - rum, mid-size - rumi, small - lê) agogo - double bell struck with metal stick ague - rattle that is a big gourd solo male voice and female chorus pentatonic scale, call and response

call-and-response

alternation or interlocking of leader and chorus musical parts or of a vocal and instrumental part common all over sub-Saharan Africa

candombe

an Afro-Uruguayan music and dance complex early 1900s incorporated into nation's carnival celebrations and emerged from the salas comparsa - entire group of candombe revelers, including dancers, masqueraders, and drummers llamada - drum ensembles featured in Uruguayan candombe; 3 different instruments, the piano (biggest drum, basic rhythm), the repique (improv), and the chico (smallest, highest pitch, plays counter rhythms) - all played with a stick in one hand and the other hand free interlocking rhythms, rhythmic density, and collective participation -- all African music aesthetics

champeta

an afro-colombian popular music associated particularly with the cimarron village of Palenque de San Basilio and centered in the city of Cartagena beginnings of genre associated with large sound systems (called picos) that would spin imported records and provide entertainment for primarily black audiences in poorer neighborhoods champeta - name of local machete-like knife hybrid in musical make-up bc grew out of social and geographic context where root/routes of ppl, languages, and sounds all met and mingled implement styles like reggae, soca, zouk, rumba, dancehall, son, and calypso history of slave resistance, struggles over language and geography highlights social/cultural place of blackness within Colombia -- explicit political messages (singing in Palenquero)

bomba

an afro-puerto rican music and dance complex

tango

argentina; Buenos Aires in 1900, poor city with many immigrants - single men => crime, brothels, and tango; brothels choose men based on dance moves depended on mobilities of both sounds and people for its successful integration into national and international scene, 1913 in't phenomenon; by 1930 out of int'l fashion, censored in Argentina from 1930-1940 form of popular dance music developed primarily in Buenos Aires during 1880s emerged as distinct social dance borrowed from malambo, (improvised male dance competition) and milonga (a style of song from rural area) instruments: bandoneon, guitars, flutes, and violins solo accompaniment common ensembles featuring two bandoneons, two violin, piano, and upright bass common upper class drew implicit links between poverty and indecency and tango 1910s tango rapidly became an internationally popular style product of rural to urban migration

junkanoo

bahamian festival celebrated on Boxing Day and New Years Day includes music, costume arts, and dance brought bahamian customs, foods, clothing, language use, and musical traditions back into public eye characteristic rhythms have roles for the various drums and bells variously banned, threatened, and limited throughout 19th and early 20th centuries tourists expressed interest, so started to become institutionalized, became marker of bahamian identity junkanoo groups tend to preserve an internal division of labor that traces some of the historical fissures within Bahamian cultural and social life (women toward costume arts, drums played by grass roots men and local white men play mas (masquerade)

tamboo bamboo bands

bamboo percussion band used to accompany calypso songs during Carnival time in the late 19th and 20th centuries substitute for the drums and sticks (which were banned in 1883) 3 parts: boom (bass), foule (higher-pitched) and cutter (highest pitch) rendered obsolete by steel band

Samba orchestra - Brazil

bass drums (surdo), double metal bell (agogo), frame drum (pandeiro), friction drum (cuica), cymbals, metal scraper (reco-reco), whistle

bira

ceremony of communal music making a Shona religious ceremony involving spirit possession interactions with deceased relatives take place through spirit possession when an ancestor enters and speaks through the body of a living person In central and northern parts of Zimbabwe, bira ceremonies involve mbira music and dance to call the ancestors; in other Zimbabwean regions drums are used instead of mbira mbira players are musical specialists who provide musical foundation, later family and community members join in by clapping different patterns and dancing in center of the room

steel band

composed of oil drums that have been "tuned" to play a range of pitches; oil barrels turned into drums bc ban on membranophones/membranes composed of idiophones (bodies vibrate as principal method of sound-production) bigger the instrument, lower the register tenor pans (more shallow, higher pitch) play melodies, seconds handle harmonies and countermelodies, cellos fill in harmonic materials, bass pans (full size barrel) play the bass lines steel bands depend on arrangers

palenquero

creole language, developed in Colombia, and mixing Spanish with Bantu primary language of the community at Palenque de San Basilio sung in champeta

aesthetic preference of African music

dense, overlapping textures and buzzy timbres that contribute to a dense sound quality

mariachi

ensemble type originally from Jalisco, Mexico, consisting of two or more violins, vihuela, guitarron, two trumpets, and various guitars play rancheras (mexican song genre with rural/working class associations), waltzes (European), polkas(entered with German immigrants), cumbias, corridos, etc - history of mobility in and around region has shaped the genre ensemble includes two trumpets. three or more violins, guitar, vihuela trumpet and violin replaced older, indigenous instruments like flautas (flutes) and guitarron replaced Jaliscan harp

music in urban society

folk music portrayed as product of rural life musical "trade" common in cities during middle ages, troubadours, minnesingers, and minstrels emerged as highly skilled musical specialists who traveled to urban centers, courts, and fairs, picking up new styles and repertories urbanization affected manufacture of musical instruments and mass production of music cities bring musics of many different group together

pipa

four-stringed fretted lute with a bent neck and a pear-shaped body prototype had five strings and was imported to China from present-day Kucha (in ancient China, called Qiuci) - this version was held horizontally and played with a plectrum 5-string pipa adapted in China, evolved into 4-string instrument, still played with a plectrum - Qiuci inspired entertainment music (called yan yue in China) was imported to Japan, became part of Japanese gagaku court music and the 4-stringed pipa went to Japan and was called the biwa until the mid-Ming period (15th century) pipa still played with plectrum and held horizontally; late 15th century pipa held upright on player's crossed knees nd played with the fingers modern pipa has 23-25 frets placed along neck and soundboard of the instrument music of pipa characterized by flexible tempi and frequent alternation between softer and louder passages, encompasses many moods repertory divided into two main categories, "big pieces" (long, 3 diff kinds: continuous (not divided into sections), divided into themed sections, divided into sections that alternate songlike and percussive material) and "small pieces" pieces also divided into wen (lyrical) and the qu (martial) categories; wen is expressive and in a slow/moderate tempo, employ various finger techniques; wu is percussive, loud, and in fast tempo

string band ensembles in Trinidad

guitars, violins, and cuatros (similar to ukulele); other groups included clarinet, trumpet, and piano favorite band in elite circles

gaucho/compadrito

image of rural rancher (gaucho - kind of cowboy) associated with courage, individualism, machismo, and independence -- embodied national values, traditions, and beliefs; coupled with massive labor migration to Buenos Aires ==> compadrito (gaucho unsaddled) compadrito: dress flashily, engage in petty crime, adopted/developed local dialect lunfardo, reinforced their social position as lower class in Buenos Aires

orisha

in santeria, a spirit understood as one of the manifestations of God within Yoruba and Yoruba-derived religious practice drums in ceremonies play set rhythms that are associated with individual orisha and that also correspond to patterns and inflections particular to Yoruba language rhythms provide foundation that the lead singer builds on in invoking the particular orishas toward which the bata drums are directed

"elaboration" parts

include clapped patterns, vocal lines, high mbira melodies and bass variations and dancing

bandoneon

instrument most iconically associated with tango, looks like an accordion; 71 buttons, 33 on left and 38 on right; pushing in and out produces different sounds for each key a type of concertina commonly associated with tango music and particularly popular in Argentina and Uruguay - originated in Germany, came to Latin America with missionaries, smaller version of the organ and was adapted to nonreligious music

East Indian influences in caribbean

instruments and genres dholak (drum) dhantal (hand clapper) and harmonium localized in places like Trinidad, Guyana, and Suriname

general characteristics of african music

interlocking melodies and rhythmic parts preference for dense, overlapping textures and buzzy timbres cyclical forms (based on melodic/rhythmic ostinatos) flexible approaches to rhythms often combining or juxtaposing units of twos and threes descending melodic shape musical roles including "core" and "elaboration" parts

klezmer music

jewish instrumental musicians, active in social events and rites of passage in Eastern Europe prior to the Holocaust and revived in Europe and North America at the end of the 20th century

hosho

large, maraca-like shakers

tongsu yinyue

light popular music chinese popular music of 1980s and 1990s produced by govt sponsored popular music industry, messages they impart are sanctioned by the govt

Musically Unified Europe

many genres of European music reflect the idea that unity of musical style is important european folk music in general falls into repertories that have national, linguistic, or cultural designations folk music can reveal and articulate history in both musical and cultural (or political/nationalistic) ways Hungarian construction of history from folk-song style (claims about whether progression of musical style has been relatively unbroken since time Hungarian people lived in Asia (old style) or whether it has absorbed influences from European peoples (new style)) has clear nationalistic implications ~ retention of music that has transposition by fifths (rare in Europe but not in Asia/C Europe) shows integrity of Hungarian ppl has been maintained to some measure (haven't lost that tradition to influences of Europe) ~ close relation of old style to speech also reveals attempt to link music to uniqueness of hungarian culture, bc Hungarian isn't a member of the Indo-European family need to equate musical style with national and regional unity in Europe is a trait in the Continent Elements of indigenous and foreign music commingle

African derived musical practices in the caribben

many varieties of drums, various shakers and scrapers, bass instruments, dances like rumba and bele, rhythmic concepts such as timelines and clave call and response structure, attention to rhythmic complexity of music (interlocking parts, syncopation)

Native american influences in caribbean

maraca, shaker made from gourd and dried seeds

pentatonicism

melodic structure based on scales with five pitches, often revealing an historically early stage of folk-music style

individual and society in europe

more communal forms of music-making continue to thrive in European society as musical ensembles in which total musical product depends on group's willingness to subsume individual identity into that of ensemble exist, reflect many ideals Europeans associate with folk music music becomes aesthetic metaphor for communality string quartet (ensemble of European chamber music that idealizes social and musical equality of the modern era - 2 violins, viola, and violoncello) interacts in a way that to make one voice dominate others would undermine performance symbol of social equality, chamber orchestra often performs without conductor to avoid symbol of power accruing to an individual and assures performers that success of performance/career depends on functioning as a whole with interacting parts complexity of European society (in which parts do not always function as a whole) can also be symbolized by musical ensemble; folk music ensembles (such as tamburitza of SE Europe) derive structure in part from soprano-alto-tenor-bass structure of choirs german male choruses in 19th century became symbol for power of nationalism large choruses in socialist E Europe during 2nd half of 20th century symbolized success of modern socialist state

charango

mostly 5 courses of 2 strings, high-pitched smallest kind of guitar that exists sound box made with shell of armadillo and wood used differently by lower and upper social classes in Andean region oppression/struggle of highland populations associated with mining European charango called mestizo charango - europeans adopted charango, didn't play together across classes

sheng

mouth organ called sho in Japan example of musical instrument played across borders

multicultural europe

musical areas of Europe result from groups of people who share a way of life and a distinctive music (even when not related to national/political boundaries) Jewish, Saami, and Roma music cultures in Europe are examples, circumscribed by boundaries that arise within these communities Roma exist throughout Europe, Roma musicians traditionally adapted to music in countries where they settled, but this hasn't erased a distinctive Roma music -- bolstered by customs, languages, and social functions that are unique to Roma

music w/in nation and music outside nation

musical cultures like that of Saami and Jewish communities illustrate persistence of repertories that cross national borders in Europe - modern political boundaries have failed to eliminate such musical traditions, and their unity of musical style characteristic has ensured their cultivation during periods of revival 20th century political state has been significant force in shaping modern European music/music ideas - state choral ensembles from Baltics tour, promulgating an officially sanctioned national sound a national music may have a style that results from a unified history, or it may combine rather disparate styles from different parts of a country, symbolizing modern unity

xibeifeng

northwestern wind popular chinese song genre that combines disco beat with chinese folk music, lyrics deliberately artless and simple

kena

notched flute, adapted locally in Latin America, no longer connected to European roots

capoeira - Brazil

pandeiro, atabaque, double bell (agogo), berimbau

Nueva Cancion

politically engaged music in Argentina, Chile, and Uruguay emerged in 50s and 60s social movement inciting people to stand up against oppression - lyrics more or less direct uses of local traditional instruments (panpipes, charango, kena flute), sometimes with western instruments

merengue

popular dance music of the Dominican Republic picked up as folk music, those in power denounced it as vulgar and primitive guira, guitar/quatro, marimba, and tambora (double headed drum) by 1870 button accordion took place of string instruments 1920s, saxophone could play melody and countermelody focuses its rhythmic intensity in emphasizing on-beats

chutney-soca

popular music style of Trinidad that combines elements of two earlier styles, chutney and soca chutney: folk music of South Asian origin, usually sung by women for women at celebrations such as weddings; harmonium, dholak (drum) and dhantal (metal clapper) soca - derived from calypso (Afro-Creole), embeds instruments from Europe and India 1970s male singers explore chutney

zouk

popular music style of the French Antilles, popularized in 1980s by band Kassav' Kassav' is a local dessert, band thus claimed local cuisine and folk knowledge as their own lyrics sung in local language creole, among Antilleans creole had been considered for the poor/uneducated hybrid nature, new vision of Antilleans as mixed and hybrid, culturally rich, and modern world citizens

liuxing gequ

popular song produced in Shanghai since late 1920s that is a hybrid version of various western and chinese musical genres, lyrics sung in Chinese national tongue, mandarin after establishment of PRC in 1949, censored and denounced

interlocking

practice of fitting one's pitches and beats into the spaces of other parts, or alternating the pitches or phrases of one part with those of others to create the whole common to many sub-Saharan musical traditions occurs at a variety of levels in mbira performance

punta and punta rock

punta - song genre that symbolically reenacts the cock-and-hen mating dance and is usually composed by women performed during festivals, at wakes, and at celebrations that follow dugu ceremonies lyrics express currents of social commentary and political consciousness couples dance, rapid movement of the hips and motionless upper torso call and response singing, drums, rattles, and conch shell trumpets shift from punta to punta rock over concern about young Garifuna identifying with radio music in 1970s, added lead guitar and a turtle shell, added keyboards and drum machines later basic tempo of punta was increased

molimo

pygmy ceremony for the forest associate divinity with the forest, misfortunes occur because the forest is sleeping, they wake the forest by singing to it every night during molimo ceremony, which may last several months also, a straight, valveless trumpet used in the ceremony

elima

pygmy puberty ceremony for which women are the primary singers

rumba

secular african-derived drumming tradition in cuba developed at end of 19th century lead vocalist, chorus, clave, palitos, and congas

panpipes - Zampoña

several wooden tubes of different sizes each tube produces one sound (no sound holes) tubes tied together in 1 or 2 rows, or grasped together in musicians hands end-blown; shorter is higher pitched, longer is lower pitched k'antu: ceremonial panpipes music in Peru and Bolivia, ensembles of numerous panpipes with large drums and a triangle; interlocking parts - similar to gamelan (Bali) and m'bira (Africa)

pygmy

social groups found in equatorial forest area stretching from Gabon and Cameroon in the west to Uganda, Rwanda, and Burundi in the east BaMbuti net-hunters maintain nomadic existence instruments: whistles and end-blown flutes made from cane, used to accompany singing or in duets in informal music making; rhythm sticks and rattles, several trumpet types (long, end-blown molimo trumpet); musical bow vocal music core of Pygmy musical life, communal singing for collective ceremonies and occasions, non-specialized activity use of a leader and chorus in call-and-response format interlocking using hocket technique (interlocking pitchets between two or more sound sources to create a single melody or part) Pygmy musical style and practice grows from, and reflects, specific egalitarian nature of Pygmy society and economic life pygmy musical performances often involve communication with spiritual world

Calypso song

song genre and characteristic rhythm emerged late 19th century from carnival instrumentation with lots of string instruments (guitar, mandolin) and aerophones (clarinet, sax) social commentary of life in islands of Trinidad and Tobego of W African communities censored between 1930s and 1950s lower classes used to express oppression "No, Doctor, No" Canboulay - festival where calypso has its roots

adapting european instruments

string instruments of Europe/upper class (guitar/violins) and repurpose to make their own traditional/local music harp - played by 2 musicians, one plays strings and one hits soundbox- local adaptation from Spanish harp

european derived musical practices in the caribbean

stringed, wind, and brass instruments, pianos, and accordions dances such as waltz, mazurka, and quadrille verse forms such as copla and decima

music and religion in europe

systems of musical patronage often reflect that structure and hierarchy of the church call during the 16th century Counter-Reformation for a polyphonic style that rendered text as audible as possible

Colonialism

the administrative, economic, and political control of a territory (colony) by a colonial power condition is maintained through exploiting unequal power relationships and by force, benefitting the colonial power and its center (the metropole) to a much greater degree than the colony itself

Peking Opera (jingju theater)

the main type of Chinese popular musical theater that first emerged in the Chinese capital Beijing in the later 18th century at first shunned by Han educated class bc of its popular origin and lack of sophistication, common people liked it bc of its lively plots and use of vernacular use of percussion - drums and clapper, gongs and cymbals jingju almost destroyed in Cultural Revolution (1966-1976) bc it was considered cultural product of old and discredited society as theater, is conglomeration of the dramatic presentation of plots using music, speech, stylized gestures/dance movements, acrobatics, mock combat scenes, and fanciful makeup/costumes personages of Jingju divided into 4 main categories and subcategories based on sex, age, social status and character, each role defined by costume and makeup actor wears and the prescribed physical movements of each 4 main categories of characters: 1) sheng (male; old male, young male, and warrior) 2) dan (female; old female, young refined female, young flirtatious female, and female warrior) 3) jing (painted face, a rough/heroic male whose face is painted with intricate colored patterns) 4) chou (male comic role basic musical elements: arias, heightened speech, and instrumental music instrumental music serves to accompany singing and physical movements/dance; also describes a dramatic situation and action, indicates spatial dimensions of the setting, convey moods/psychological makeup of characters instrumental ensemble has 2 components: the melodic (wenchang) and the percussion (wuchang) percussion most important for the musical communication of information, also provides rhythmical punctuation for movements/singing percussion ensemble usually made up of 5 principal instruments: danpigu (single-headed drum), ban (paired wooden clapper), daluo (big gong), xiaoluo (small gong) and naoba (small pair of cymbals); these 5 combined in different ways to indicate different kinds of dramatic situations, atmospheres, or moods melodic ensemble features mostly strings and winds, as well as set of 10 small suspended pitch gongs (yunluo) - sheng (mouth organ) primary function of melodic ensemble is to play introductions and interludes for arias, to double aria melodies, and to play incidental music for dance and miming movements only 9 basic players are in jingju ensemble, but performers usually play more than one instrument vocal music comprises arias, recitative-like short phrases, and heightened speech (type of stylized stage speech having steeply rising and falling contours that exaggerate natural tonal contours of Chinese) arias express lyrical sentiments of the character, recitative-like phrases and heightened speech propel narrative heightened speech used exclusively by important characters and characters of high status, everyday speech used by comics and characters of lower social status

"core" musical roles

those that must be in place for a performance to go forward foundation that makes other contributions, variations, and improvisations possible in mbira, core roles include basic rhythmic flow maintained by hosho and the basic melodic-harmonic ostinato played in the midrange and bass of the mbira

tango (dance)

three substyles of dance: tango, milonga, and vals (waltz) strong accents at the quarter-note level, technique called marcato

rake 'n' scrape

traditional Bahamian music, usually played on accordion, saw, and goatskin drum creolized musical style, combo of european and african instruments (accordion and goatskin drum) combo of european and african conceptions of embodied rhythm (quadrille dancing and rhythm played on drum)

cariso

traditional french creole song early form of calypso, often employing insulting or satirical lyrics

Schrammelmusik

urban, folk-like music of Vienna, named after a family of musicians

concerts and concert stars in europe

we equate european music with concerts concert is a specialized musical event, in which difference between performer and audience is very great, focal point of most activity is the singing or playing of music concert empowers musicians to recontextualize music, to bring rural folk music to streets of city, or to relocate sacred music in a public auditorium concerts shift certain degree of attention to the performer as result of splitting musical participation into two groups of music makers and audience => performer acquires importance bc skill he/she posses and the role audience wants performer to play => sort of cult-figure worship

zheng

zither 21 strings (4 octave range) each string supported by an individual and movable bridge strings plucked by right hand, pitches altered by left hand (pressing and pulling strings) pentatonic scale instruments derived from zheng: kayagum (korea) and koto (japan)

qin

zither highly regarded bc of its antiquity and association with scholars and poets made from hollowed board approx 4 ft long and 3 inches deep with convex curve at the top - curved top symbolizes heaven and flat bottom symbolizes earth 7 strings (silk or metal) of varying thickness stretched over length of board no frets or bridges, has 13 studs or position markers called hui that are embedded along the outer edge to indicate finger positions for stopping the strings flat, smooth underside of instrument as two openings called "sound pools" ("dragon pool" and "phoenix pond") playing involves various ways of plucking the strings with the thumb, index, middle and ring fingers of the right hand and stopping them with the four fingers of the left hand (little finger never used) originally played to accompany poetry after Han dynasty, qin emerged as solo instrument and accompanying instrument for chamber vocal genres Song dynasty (960-1027) revival of qin, fused Confucian philosophy with Daoist and Buddhist mystical symbolism ==> playing qin is act of comtemplation, self-purification, and self-regulation; should be played in private importance of oral tradition and realization/interpretation of the music by the performing artist all qin compositions have titles that evoke a mood or atmosphere familiar to chinese audience - reference chinese history/legends several sections: 1) sanqi (intro) - begin slowly in free rhythm, introduce principal notes of the mode 2) rudiao (entering the music, exposition): meter is established, varied by means of extension, reduction, and changes in timbre, tempo and register; usually longest part 3) ruman (becoming slower): principal motives undergo further rhythmic variation and modulation to other keys may occur 4) weisheng (tail sounds): a short coda ends the composition, always played in harmonics and in a slacking tempo, reiterates important notes in composition