Music Culture

rame

"Boisterous activity" Collective participation (community)

reel

1-2-3-4-1-2-3-4

tambura

4 strings Drone instrument

sound layers

Drone Rhythm Melody

uilleann pipes

Elbow" Pipes Full Set Chanter 3 Drone Pipes 3 Regulator Pipes

colotomic structure

Embellishments Melody Gong Pattern <------- organizes time

BollyWood

Largest film industry in India (and the world)

veena

Melody instrument 7 strings 24 raised frets (Melody)

flamenco

Mixture of Roma, Arab, and Jewish music in the 15th century 19th century: form and repertoire standardized Mid-19th to early 20th centuries: "golden age" 1960s: "nuevo flamenco" (ex: Gipsy Kings)

gamelan

Percussion ensemble Gongs Metallophones Drums Brass, bamboo, wood Flute, fiddle, singing Groups of instruments Similar construction Similar function Each group provides a musical layer __________________________________________________ Serious, refined music Performed by trained professionals Intellectual or elite audience Unique (often complex) organizational structure

lata Mangeshkar

Playback singer Recorded over 10,000 filmi git Dominant voice in Indian film since 1942

Tamil Cinema

South India second largest film industry in India

Andalucia

Southern "autonomous community" Capital: Sevilla 8th-15th centuries: Muslim rule (Moors) Influenced architecture, intellectual life, culture

flamenco dance

Stomping, tapping of feet create intricate rhythms Symbolic arm/hand movements

melody

metallphone Saron, slenthem Slendro and pelog tuning systems

compostition/ improvisation

are most commonly used to designate different, or even diametrically opposed, musical activities. As soon as one begins to compare the application of the two terms, however, it becomes clear that each term really refers to certain traits shared by activities, rather than to a specific activity.

ornamentation

are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line. also called embellishments

gajda

bagpipe made from goat skin

Bedhaya

classical dance

additive meter

groups of 2 and 3 (ex. 2+2+3=7)

binary form

groups of two

bodhran

handheld frame drum

duende

having soul, a heightened state of emotion, expression and authenticity, often connected with flamenco.

bulerias

is a fast flamenco rhythm in 12 beats with emphasis in two general forms as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12] or 1 2 [3] 4 5 6 [7] [8] 9 [10] 11 [12]

jig

is a form of lively folk dance in compound meter, as well as the accompanying dance tune. 1-2-3-4-5-6

sitar

is a plucked stringed instrument predominantly used in Hindustani classical music, where it has been ubiquitous since the Middle Ages. It derives its resonance from sympathetic strings, a long hollow neck and a gourd resonating chamber. (melody)

tabla

is a popular Indian percussion instrument (of the membranophone family), similar to bongos, used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres.

glottal stop

is a type of consonantal sound used in many spoken languages produced by obstructing airflow in the vocal tract

palmas

is an essential form of percussion to help punctuate and accentuate the song and dance.

raga

is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed.

Hindustani classical music

is the Hindustani or North Indian style of Indian classical music found throughout the northern Indian subcontinent

melisma

is the singing of a single syllable of text while moving between several different notes in succession

tala

is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in other Asian classical systems such as the notion of usul in the theory of Ottoman/Turkish music.

Dhalang

knocks on wooden puppet box, jingles metal pieces w/ foot He also speaks for each character

Philip koutev

led national folk song, founded bulgarian state radio vocal choir,bulgarian folk song arranger

Roma

Believed to originate in Northern India Descendants of professional court musicians ("Dom" caste) Migration began 420 C.E. "Gypsy" Comes from incorrect idea that Roma came from Egypt In Spain, Roma refer to themselves as gitano (Gypsy)

alignment

Coincidence of days from different calendars = supernatural power

Sound layers (gamelan)

Colotomic structure Gong, kempul, kenong, kethuk Melody Saron, slenthem Slendro and pelog tuning systems Embellishment Bonang Drum (kendhang) = "conductor"

Carnatic classical music

Small ensembles 3 sound layers Drone Rhythm Melody Composition + improvisation Kriti : devotional songs

Saraswati

Hindu goddess of knowledge, music, arts and science

flamenco

Three main components: singing, guitar, dance Improvisation Group participation Hand clapping (palmas) Shouts (jaleo) Duende "Passion" Transcendent emotion Performed in bars, clubs, juergas

mridangam

Two headed drum Tuned side + bass side (Rhythm)

Sharukh Khan

a.k.a. SRK, "King Khan" Film actor, TV presenter Appeared in over 70 Hindi films since 1988

the willie clancy summer school

non competitive learning. 1st summer school for music

Yogyakarta

old ancient city

jaleo

pandemonium, uproar, commotion

kenog

plays on 4,8,12,16

kempol

plays on 6,10,14

ketuck

plays on all 16

gong

plays on beat 16

kaval

shepherds flute

playback singer

singer who records songs for indian films

close harmonies

small intervals, rings like bells

filmi git

song form/ performed in Indian movies Based on classical love, often borrow from other popular genre

kriti

the backbone of any typical Carnatic music concert and is the longer format of a carnatic music song. Pallavi. This is the equivalent of a refrain in Western music. Anupallavi. The second verse, which is sometimes optional. Charanam. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. The charanam's last line usually contains the composer's sign, or mudra, with which the composer leaves their mark. entrance of rhythm

Wayang kulit

the title of the person who controls the puppets, provides voices for all the characters and signals to the musical accompaniments