World Music Final!
Nonki Bushi
"Nonki-bushi" was written in 1918, and became a hit in Japan. The music is by Soeda Azembo, with lyrics by Ishida Ichimatsu. The lyricist is also the singer. "Nonki-bushi" represents an early genre of Japanese popular songs called enka, which became the first songs to combine the Japanese pentatonic scales with Western harmonies. The early enkashi (enka singers) were accompanied by a single instrument, usually a shamisen, and later, with the increased influence of Western instruments, the violin. A violin was used in this recording. The shamisen and violin were mainly used heterophonically to embellish the singer's melody. The Western guitar would become a favorite accompanying instrument for later enka songs. This song, like other enka songs, uses a yo scale, a pentatonic folk scale that does not include half steps. The interval of a perfect fourth is prominent in the yo pentatonic scale.
Tsuru no Sugomori
(The Cranes nesting) Here the family life of the cranes is depicted by various specialized techniques of Shakuhachi playing. As in the case of Shike no Tone, the origins of the piece are not religious. In ancient times, cranes were worshipped as spirit birds. The piece Tsuru so Sugomori, which is one of the last pieces one learns, expresses the joy and love inherent in these birds. There are many versions of Tsuru no Sugomori. That which has the oldest form and is the most succinct is the one learned first, Suzuru. This piece was transmitted in the Kansai region, and is centered around fingering techniques, although some breathing techniques have been introduced as well. Usually a 1.7 or 1.8 shaku hocchiku is used for this piece, but for this recording 2.3 hocchiku is specially used to express the flight of the cranes, their lively stepping, and their cries. Shamisen + Shakuhachi, bending notes and trills to represent birds and snow *timbres that express nature
Da lang tao sha
*"Great Waves Washing The Sands" *pipa solo *songs such as this would have historically appeared in combination within a suite *a type of "wen" or "civil" piece since it deals with romance or nature *controversy of meaning of text
Fang ma shan'ge
*"Releasing the horse into pasture" *2 phrase design and vocal cries alongside singing *straightforward structure than weeding song *great contrast in meter *vocal cries *duple meter so more structured
Sanniang jiao zi
*"Third wife teaches her son" *performed by qingyi in beijing opera *mix of declamatory speech and vocal phrases *alternates between emphasized tonal areas *accompanimental instrument is jingle *sounds almost like a recite. *sings same as instruments
kalpana svara
*"imagines" "notes" *end of kris or after kris *easy to recognize this section because performer singing the names of the notes in the raga scale - sa, ri ga, ma , pa , da, or ni- instead of lyrics *returns to a phrase from the kriti - this phrase is called the idam in this section of the kalpana sara, which means "place". It is supposed to symbolize some familiar returning place.
Qian xiucai: Yana zhao jing
*"scholar qian: yanda looks in the mirror" *genre = Suzhou tanci - scripts of live stores and jokes, dialects and performing practices have evolved a lot overtime, often 1 musician, often on sanction or pipa. *this piece = a short humorous story about man who notices his own reflection after 20 years and realizes he's no longer young *actually structured around major D chord, which is uncommon in Chinese melodies
Yundao ge
*"weeding song" *a type of shan'ge (agricultural song) *weeding was super hard during summer heat *2 phrase design and vocal cries alongside singing *male
tamboura
*4 stringed plucked instrument tuned to toal center and fifth
Engal Kalyanam
*A "Pop Music" Song, a film song *"Our Wedding" *lighthearted look at the commotion and excitement of an Indian wedding * 3 musical sections, 1. chorus 2. marked by jazzy walking bass 3. accompaniment on drums only
notation or lack thereof
*Oral tradition! *no music used in performance, hence the emphasis on improvisation
karnataka sangeeta
*The classical music of south india *used to be played in courts and palaces of rajas and maharajas, as well as stately temples *have remaining images of the instruments, dance, etc. of performances of this music *oral tradition *built around precomposed Hindu songs, busy texture & block-like improvisational structure *took shape in the "golden age" of late 18th and 19th c., 3 prominent composers at this time
Pipa
*The pipa is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12 to 26. *very long history
mridangam
*a barrel-shaped double-headed drum with one head larger than the other, used in southern Indian music. *the main accompanying instrument in Carnatic music *other players follow the signals of the mridangam player
alapana
*a free-flowing exposition and exploration of the raga * non-metrical *"breath rhythms" *starts with general plan, but improvised throughout *often begin slowly and increate in speed and complexity
tanam
*a highly rhythmic exposition of the raga *usually only performed once in a concert *after the alapana and before the kriti *no tala cycles but strong sense of beat *melody on even and drop in asymmetrical patterns, working through phrases of raga
kriti
*a musical form *principle song form in South Indian music
qin
*a seven-stringed zither qin *ancient design, over 200 years ago *simple design with rich timbres *long associated with elite scholar-officials- so poetry often associated with qin music + calligraphy
Sizhu
*aka Jiangnan sizhu - instrumental muscal traditions from Shanghai region *means "silk and bamboo", refers to 2 categories of instruments used. *the ensemble is flexible, but often includes eh, sanction, pipa, run, yangqin, and dizi *used to be played at weddings and local operas, but now especially prevalent in amateur music today - especially tea shops or music clubs! *often in tea shops, performers sit in circle and perform to one another
Peking Opera
*aka Jungju or Beijing opera *gingyi = a serious heroine and great actress, evocative and strong vocal power, *characters classified according to role type = sheng (male), dan (female), jing (painted face) and chou (clown), with further categories within each of these *conventions for costumes and makeup vary within each of these character types *scenery and stage props often simple, with complex costumes and makeup. this is because these troupes were often migratory i the past so scenery had to be basic. *4 basic elements: singing, speech, acting and fighting *huge variation in vocal production, speech like or melismatic arias, *in past, these professionals admired for skill but had low status- often engaged in prostituion, so these troupes often condemned- that's why gender roles are so mixed in these performances today. *moral message is important, expressing confucian virtues
master teachers & vocal method
*apprenticeship system = gurukula system *very rigorous, lessons beginning really really early, with strict guru *slaps for mistakes or laziness *musicians must master syllables before learning to actually play the instrument
sruti
*drone *this layer includes one or more instruments *tambura or sruti-box
Sarasiruha
*improvisation *"To The Goddess Saraswati" *alapana + tanam + kriti + kalpana svaras 1 + kalpana svaras 2 + tani avartanam (drum solo) + Kriti return, veena
Devi Niye Tunai
*in kriti form aka south indian *mridangam *vocalist *text in Tamil language and praises goddess Meenakshi with fish eyes *each line is repeated with variations, kris in 3 sections *raga is Keeravani, similar to harmonic scale *tala is Adi tala, most common tala, 8 beats = 4 + 2 + 2 *drone, unchanging throughout, with single melody atop *bends and slides, ornamentation *svara = note, but may consist of "a constellation of ornamented pitches" *Improvisation important *nasal timbre *performed by ear in an oral tradition *complex drum rhythm - tala *lyrics are important for Hindu mythology
harmony in Indian music
*in south india, the harmonizing instrument is often the violin *melodic accompanist plays 3 major roles: 1. play along on all the songs 2. echo and support the soloist in improvised phrases called the alapana (and maybe add some of their own) 3. alternate with the soloist in later improvisation to make the song reach a climax
raga
*melodic modes *"that which colors the mind" - aka has a huge connection with emotion *a raga has a "musical personality" *often, ragas have associated gestures or phrases *often ragas have rules for movement from note to note *rasas = 9 of them (kinda 10), traditional texts associated with ragas. associated with different emotions, sometimes colors, animals, gods, seasons, times etc. *raga-mala : paintings of the ragas *In Carnatic music, all ragas related to a melakarta, a "parent" or "mother" scale, where 1st & 5th are the same (aka the drone tones) I love this line from the book: One gets to know the raga gradually - by hearing one's guru or other master musicians perform it over many years. It is said that getting to know a raga is like getting to know a close friend: beginning with the face and voice, once eventually perceives the inner personality with all its quirks, puzzles, and delights.
film music
*often involve romance Bollywood songs, more formally known as Hindi film songs, or filmi songs are songs featured in Bollywood films. Derived in Western film circles for the song-and-dance routine, Bollywood songs, along with dance, are a characteristic motif of Hindi cinema which gives it enduring popular appeal, cultural value and context.[1] Hindi film songs form a predominant component of Indian pop music, and derives its inspiration from both classical and modern sources.[1] Hindi film songs are now firmly embedded in North India's popular culture and routinely encountered in North India in marketplaces, shops, during bus and train journeys and numerous other situations.[2] Though Hindi films routinely contain many songs and some dance routines, they are not musicals in the Western theatrical sense; the music-song-dance aspect is an integral feature of the genre akin to plot, dialogue and other parameters.[1]:2
Hakusen No
*performed by geisha Hakusen no means "a white fan." The piece is a type of short, evocative song called a kouta. Kouta means "short song," as contrasted with the nagauta style (meaning "long song"), which accompanies no theater. The word usually refers to the one- to three-minute songs that were created in the mid-1800s, at the end of the Edo Period, and often by geisha, though they gained real popularity during the Meiji Era. Kouta evoke images and allusions through their often provocative and metaphoric lyrics and interesting instrumental word painting (emphasizing the meaning of a word in the accompaniment). The lyrics provide ample and auspicious metaphors for romantic commitment through references to the beauty of nature and the white fan.
Chinese folk songs
*the marriage lament tradition, since women had to abandon family after getting married *lyrics hugely important, but so are many of the musical elements *shan'ge - songs of agricultural work, flirting, and courting
Hindusthani
*the traditional music of northern india *improvisations, contrasting sections, but many sections seem very "stagnant"
tala
*time cycle *most common is Adi tala, 8 beats = 4 + 2 + 2 *musician regards regular pulse but then is grouped into regularly occurring cycles aka tala *in Carnatic music today, there are really only 4 tala. Used to be more *generally, tala can be performed at any tempo *tala accents occur in uneven groupings
Nikata Bushi
A party song from Niigata Prefecture spread to Akita, where Asano Umewaka wed the free-rhythm song to a driving, rhythmic shamisen part, elaborated and accelerated to become one of Japan's most virtuosic instrumentals. The shamisen, as the "star", is usually mixed louder than the voice. Like "Esashi Oiwake", this song's title contains two place names, revealing its present and previous locales: "Nikata" is a corruption of "Niigata".
Pentatonic Scale
A pentatonic scale is a musical scale or mode with five notes per octave
Bollywood
Bollywood is the sobriquet for the Hindi language film industry based in Mumbai, India.[3] It is more formally referred to as Hindi cinema.[4] The term "Bollywood" is often used by non-Indians as a synecdoche to refer to the whole of Indian cinema; however, Bollywood proper is only a part of the larger Indian film industry, which includes other production centres producing films in many other Indian languages.[5][6] Bollywood is one of the largest film producers in India, representing 43% of the net box office revenue, while Tamil and Telugu cinema represent 36%, and the rest of the regional cinema constitutes 21% as of 2014.[7] Bollywood is also one of the largest centers of film production in the world.[8][9][10] Bollywood is also one of the biggest film industries in the world in terms of the number of people employed and the number of films produced.[11] In 2011, over 3.5 billion tickets were sold across the globe which in comparison is 900,000 tickets more than Hollywood.[12] Bollywood produced 252 films in 2014 out of a total of 1969 films produced in Indian cinema.
Buddhism
Buddhism is a religion and dharma that encompasses a variety of traditions, beliefs and spiritual practices largely based on teachings attributed to the Buddha. Buddhism originated in India sometime between the 6th and 4th centuries BCE, from where it spread through much of Asia, whereafter it declined in India during the middle ages.
Bunraku
Bunraku (文楽?), also known as Ningyō jōruri (人形浄瑠璃), is a form of traditional Japanese puppet theatre, founded in Osaka in 1684. Three kinds of performers take part in a bunraku performance: the Ningyōtsukai or Ningyōzukai (puppeteers), the Tayū (chanters) and shamisen musicians. Occasionally other instruments such as taiko drums will be used. The most accurate term for the traditional puppet theater in Japan is ningyō jōruri . The combination of chanting and shamisen playing is called jōruri and the Japanese word for puppet (or dolls, generally) is ningyō. It is used in many plays. Bunraku puppetry has been a documented traditional activity for Japanese people for hundreds of years.
Enka
Enka (演歌?) is a popular Japanese music genre considered to resemble traditional Japanese music stylistically. Modern enka, however, is a relatively recent musical form which arose in the context of such postwar expressions of modern Japanese nonmaterial[further explanation needed] nationalism as nihonjinron, while adopting a more traditional musical style in its vocalism than ryūkōka music, popular during the prewar years.[1] Modern enka, as developed in the postwar era, is a form of sentimental ballad music.
Gagaku
Gagaku (雅楽 gagaku?, ancient imperial court music and dances,[1] lit. "elegant music") is a type of Japanese classical music that has been performed at the Imperial Court in Kyoto for several centuries. This kind of music was first imported into Japan from China, however artistically it differs from the music of the corresponding Chinese form yayue which is a term reserved for ceremonial music.[2] Gagaku consists of three primary repertoires: Native Shinto religious music and folk songs and dance, called kuniburi no utamai A Goguryeo and Manchurian form, called komagaku (named after Goguryeo, which is pronounced Koma in Japanese, one of the Three Kingdoms) A Chinese and South Asian form (specifically Tang Dynasty), called Tōgaku.[1] Gagaku, like shōmyō, employs the yo scale, a pentatonic scale with ascending intervals of two, three, two, two, and three semitones between the five scale tones.[3]
Geisha
Geisha are traditional Japanese female entertainers who act as hostesses and whose skills include performing various arts such as classical music, dance, games and conversation, mainly to entertain not only male customers but also female customers today.
Kabuki
Kabuki is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers. The individual kanji, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing" Kabuki, like other traditional forms of drama in Japan and other cultures, was (and sometimes still is) performed in full-day programs. Rather than attending for 2-5 hours, as one might do in a modern Western-style theater, audiences "escape" from the day-to-day world, devoting a full day to entertainment. The three main categories of kabuki play are jidai-mono (時代物, historical, or pre-Sengoku period stories), sewa-mono (世話物, domestic, or post-Sengoku stories) and shosagoto (所作事, dance pieces) The kabuki stage features a projection called a hanamichi (花道, "flower path"), a walkway which extends into the audience and via which dramatic entrances and exits are made.
Karaoke
Karaoke is a form of interactive entertainment or video game in which an amateur singer sings along with recorded music (a music video) using a microphone and public address system
North vs. South traditions
Key: 1. Hindustani Music 2. Carnatic Music ___________________________________________________________________ Raga System: 1. Based on 10 Thaats and 32 Ragang Ragas 2. Based on 72 Melakarta or Janak Raga ___________________________________________________________________ Time-Cycle of Ragas 1. Follws Time Cycle 2. Doesn't follow it ___________________________________________________________________ Tala 1.Popular 10-12 Taal 2. Popular 35 Taal ___________________________________________________________________ Composition or Kriti Forms 1. Khayal, Dhrupad, Tarana, Thumri, Dhamaar divide into parts like -Sthayi, Antara, Snachari and Abhog 2. Varnam, Kriti divided into part as Pallavi, Anupallavi and Charnam ___________________________________________________________________ Composers 1.Experts from various 'Gharana' in different regions of Northern India 2. Saint Purnadardas, Tyagraja, Dikshitar and Shyama Shastri ___________________________________________________________________ Area of influence 1.Famous in North, central, West and Eastern India and also in Pakistan and Bangladesh 2.Famous in South India (Tamilnadu, Karnataka, AP and Kerala) ___________________________________________________________________ Shuddha Swara Saptaka (Primary Notes Scale) 1. Raga Bilawal (Similar to Carnatic Raga Dheer Shankarbharnam) 2. Raga Maya Malav Gaula (Similar to Hindustani Raga Bhairav) ___________________________________________________________________ Performance 1.Improvisation is more valued. 2. Composition is more valued.
Kouta
Kouta a genre of traditional Japanese Music often employed by geisha. *sit on floor, legs crossed
Naite Nagasaki
Musical genre called ENKA (See Fujie, p. 178). First appearing in the 1880s, enka represented a blend of Japanese and Western musical elements. The lyrics expressed contemporary social and political attitudes, but after World War II, these popular music songs became expressions of nostalgia and sadness. They began to disappear in the 1970s with the younger generation, but karaoke technology brought them back into use. "Naite Nagasaki" or "Crying Nagasaki" is in an old-fashioned style, depicting the sad departure of a woman's lover. Note how the singer represents the emotion and act of crying when she repeats the lyrics "naite, naite, naite."
Noh
Noh (能 Nō ?), or Nogaku (能楽 Nōgaku ?)—derived from the Sino-Japanese word for "skill" or "talent"—is a major form of classical Japanese musical drama that has been performed since the 14th century. it is the oldest major theatre art still regularly performed today.[1] Traditionally, a Noh program includes five Noh plays with comedic kyōgen plays in between; Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, children, and old people. Written in ancient Japanese language, the text "vividly describes the ordinary people of the twelfth to sixteenth centuries".[attribution needed][3] Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the iemoto system.
Samurai
Samurai were the military nobility and officer caste of medieval and early-modern Japan.
Taiko
Taiko are a broad range of Japanese percussion instruments. The process of constructing taiko varies between manufacturers, and preparation of both the drum body and skin can take several years depending on methodology. Taiko have a mythological origin in Japanese folklore, but historical records suggest that taiko were introduced to Japan through Korean and Chinese cultural influence as early as the 6th century CE.
veena
The Veena (Sanskrit: वीणा) is a plucked stringed instrument originating in ancient India, used mainly in Carnatic classical music and Hindustani classical music. The name is used for several instruments belonging to different families, mainly the Rudra Veena (a zither) and the Saraswati veena (a necked bowl lute) but also to other types of plucked string instruments (Mohan veena, ancient veena etc.).
Hichiriki
The hichiriki is a double reed Japanese fue (flute) used as one of two main melodic instruments in Japanese gagaku music, the other being the ryūteki. The hichiriki is difficult to play, due in part to its double reed configuration. Although a double reed instrument like the oboe, the hichiriki has a cylindrical bore and thus its sound is similar to that of a clarinet. Pitch and ornamentation (most notably bending tones) are controlled largely with the embouchure. T
Koto
The koto is a traditional Japanese stringed musical instrument derived from the Chinese zheng, and similar to the Mongolian yatga, the Korean gayageum, and the Vietnamese đàn tranh. The koto is the national instrument of Japan.[1] Koto are about 180 centimetres (71 in) length, and made from kiri wood (Paulownia tomentosa). They have 13 strings that are usually strung over 13 movable bridges along the width of the instrument. There is also a 17-string koto variant. Players can adjust the string pitches by moving the white bridges before playing. To play the instrument, the strings are plucked using three finger picks
Shakuhachi
The shakuhachi is a Japanese end-blown flute. It was originally introduced from China into Japan in the 6th century and underwent a resurgence in the early Edo Period. The shakuhachi is traditionally made of bamboo, but versions now exist in ABS and hardwoods.
Shamisen
The shamisen or samisen , also called sangen, is a three-stringed, Japanese musical instrument derived from the Chinese instrument sanxian. It is played with a plectrum called a bachi.
Sho
The shō is a Japanese free reed musical instrument that was introduced from China during the Nara period (AD 710 to 794). It is modeled on the Chinese sheng, although the shō tends to be smaller in size. It consists of 17 slender bamboo pipes, each of which is fitted in its base with a metal free reed. Two of the pipes are silent, although research suggests that they were used in some music during the Heian period.
sitar
The sitar is a plucked stringed instrument used mainly in Hindustani music and Indian classical music. The instrument is believed to have been derived from the veena, an ancient Indian instrument, which was modified by a Mughal court musician to conform with the tastes of his Mughal patrons and named after a Persian instrument called the setar (meaning three strings). The sitar flourished in the 16th and 17th centuries and arrived at its present form in 18th century India. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd-shaped resonance chamber. In appearance, the sitar is similar to the tanpura, except that it has frets. Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s.[1] In the 1960s, a short-lived trend arose for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as The Beatles, The Doors, The Rolling Stones and others.
tabla
The tabla is a membranophone percussion instrument (similar to bongos) which is often used in Hindustani classical music and in the traditional music of India, Pakistan, Nepal, Bangladesh, and Sri Lanka. It is also one of the main Qawali instrument used in Pakistan and India. The instrument consists of a pair of hand drums of contrasting sizes and timbres.
In and yo scales
The yo scale, which does not contain minor notes, according to a traditional theory is a pentatonic scale used in much Japanese music including gagaku and shomyo. The yo scale is used specifically in folk songs and early popular songs and is contrasted with the in scale which does contain minor notes. The in scale is described as 'dark' while the yo scale is described as 'bright' sounding. The in scale (also known as the Sakura pentatonic scale due to its use in the well-known folk song Sakura Sakura) is, according to a traditional theory, one of two pentatonic scales used in much Japanese music, excluding gagaku and Buddhist chanting. The in scale, which contains minor notes, is used specifically in music for the koto and shamisen and is contrasted with the yo scale, which does not contain minor notes.
Shinto
a Japanese religion dating from the early 8th century and incorporating the worship of ancestors and nature spirits and a belief in sacred power ( kami ) in both animate and inanimate things. It was the state religion of Japan until 1945.
Erhu
a present-day version of a two stringed fiddle *believed to have been imported along the Silk Road *influence from violin and westernization of Chinese culture
Divisive Rhythm
a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units;
Crossrhythm
a rhythm used simultaneously with another rhythm or rhythms.
Additive Rhythm (asymmetrical rhythm)
larger periods of time are constructed by concatenating (joining end to end) a series of units into larger units of unequal length, such as a 5/8 meter produced by the regular alternation of 2/8 and 3/8
drum syllables
sollukatta = spoken syllables that emulate drum strokes and patterns.
