Cole Exam 2

Vodou

Haitian religion that formed as a result of syncretism between Roman Catholicism and West/Central African beliefs, idea that everything is spirit and people must serve the spirits (sevi lwa), lots of rites/rituals towards God and spirits (God believed to be creator of everything including spirits)

musical syncretism/hybridity

blending of elements from different cultures to create something new and distinct

colonization

the action or process of settling among and establishing control over the Indigenous people of an area, huge impact on Caribbean culture—importing of African slaves, religion imported from Europe

Santeria

Example of another animistic religion developed due to syncretism from Catholicism and West African beliefs, developed in Cuba and spread to US during Cuban Revolution in 1959, particularly Miami and NYC

Creole

One of official languages of Haiti, first language of about 95% of Haitians (especially in rural areas), contact language formed between French and African languages spoken by slaves

Polyrhythm

a rhythm which makes use of two or more different rhythms simultaneously, used in Vodou, Plena, etc., often found in African musical traditions

Vaksin

High-pitched aerophone, bamboo trumpet, used in Vodou seasonal Rara ritual, uses hocket with other aerophones and create timeline by striking instruments on their sides with sticks

Animism

the attribution of a living soul to plants, inanimate objects, and natural phenomena—Vodou, Santeria, African beliefs

Loa/Orisha

Loa is lwa, spirits in Vodou religion, Orisha is spirits/deities in Yoruba—called that in Santeria

Spirit Posession

Plays large role in Santeria, Vodou, Candomble, person or medium becomes possessed/embodies a spirit, can be used to heal, communicate with spirits

Candomble

Brazil animistic religion, each individual is believed to have an orixá who has been connected to them since before birth, informs their personality—syncretism between African beliefs and Roman Catholicism

Rada drum

Drum associated with Rada branch of lwa, polyrhythmic percussion, drums create “battery” that is foundation for other instruments and singing/dancing

Soca

“Soul Calypso” genre, created from blending traditional Calypso with rock and reggae, Trinidad and Tobago, pioneered by Lord Shorty in 1970s, got big in 1980s

Pan

Melodic idiophone, name for steel drums, used as soloist in Calypso, later used for steel band

Tamboo Bamboo

Musical tradition in Trinidad that paved way for steelpan, used bamboo stalks as instruments when drums were banned, then moved to steel drums left by military

Cuatro

Reverberant plucked lute that has 10 strings (doubled to form 5 pairs), very full sound, begins with improvising then created main melodic content in Plena

Clave

Stick idiophones, used as part of “engine room” percussion in steel band

Engine Room

un-pitched rhythmic percussion that drives steel band; includes drum set, claves, cowbells, maracas, guiro

Calypso

Musical tradition that developed in Trinidad, uses a small dance band with talking vocalist giving witty social commentary, uses modern western instruments and steel drums as soloist, main focus on lyrics/message, many variations of the genre emerged later

Steel Band

Musical tradition from Trinidad, consists of band of pan (melodic steel drums) and rhythm section called “engine room” that drives the music, lots of polyrhythm, African elements and melody/harmony derived from European traditions, syncretism/hybridity, upbeat, bright sound, associated with “island” sound

Important Calypso Artists

Growling Tiger, Lord Kitchener (“Grand Master of Calypso), Calypso Rose (“Mother of Calypso”, addressed sexism in songs)

Plena

Musical tradition from Puerto Rico, Spanish and West African influences, has relaxed feel, catchy melody, considered artistic/cultural center of Puerto Rico, topical songs (“song newspapers”, more light lyrics, positive themes, cultural pride), melody and variations, call and response, polyrhythmic percussion groove with panderetas (small frame drum), barriles (barrel drum), and guiro (scraped gourd), cuatro establishes main melodic content

Merengue

Dance and musical tradition created in Dominican Republic, uses tambora (“thud” sounding drum), accordion (button box), guiro (“scraping” sounding timekeeper), rhythmically dense, call and response, polyrhythms, fast walking tempo

ge’ez

Literary and liturgical language in Ethiopia, ancient language

Ethiopian liturgical sacred music/Christian chant

Sacred form of music in Ethiopia, roots of orthodox Christianity, very influential to society and life in Ethiopia, texts are prose and accompanied by cylindrical kettledrum (kabaro), hand-shaken metal sistrum (ṣanāṣel), and prayer staff topped with a T-shaped tang-cross (maqwāmiyā) waved in the air and pounded on the ground, many portions first sung as plainchant then repeated with different accompaniments and increasing tempo

St. Yared

credited for composing and codifying  zēmā  (sacred music, meaning ‘pleasing sound’, ‘song’ or ‘melody’) under the influence of divine inspiration, composed the chants and organized them into service books (Ethiopian Christian liturgical chant)

zema

Sacred music in Ethiopia, created by St. Yared from divine inspiration

dabtara

non-ordained church musician who trains for 15-20 years to master zēmā sacred musical system and learns the melekket system of church musical notation while performing the liturgy as an oral tradition, many also have skills as healers or magicians (Ethiopia)

deggwā

(hymnary) repertory, most important part of the liturgy celebration performed before Mass on Sundays and on holidays throughout liturgical cycle (Ethiopia)

melekket notational system

system of notational signs which signify specific melodic phrases drawn from source chants, 16th century and after, singers memorize chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs (Ethiopia)

aqqwāqwām

liturgical dance and instrumental accompaniment (Ethiopia)

kabaro

cylindrical kettle drum used for aqqwāqwām (Ethiopia)

Guqin

7-stringed plucked zither, usually played as a solo, very important in Chinese music culture

Sizhu

“Silk and Bamboo” ensemble, based on Bayin classification, has flutes, lutes, fiddles (based on material, flowing vibe in melodic line (connection to Taoism), clear tune and phrases, lots of ornamentation, consistent rhythm and repetition of motifs, no harmony or low instruments, quintessential “Chinese” sound

Dizi

Horizontal flute with strident sound, different sizes for different keys (diao), “bamboo” instrument, vibrating membrane inside to create buzzing timbre

yang qin

hammered zither, descendant of santur (Iran), strings struck with small beater, role of accompaniment in Sizhu

erhu

2 stringed fiddle, strings a 5th apart, bow passes through both strings, thin nasal timbre

pipa

fretted plucked lute, often solo, silk classification (strings), plucked using all 5 fingers “rolling”

Jingju Opera

also “Beijing Opera” or “Peking Opera”, uses Jingu (2 stringed fiddle) and melodic ensemble, melody follows contour of language, piercing voice and fiddle, “rise and fall” of pitch, gongs, clangor of percussion, simple props/staging, symbolic over realistic, stylized speech

Jingju Opera roles

Sheng (male), Dan (female), Jing (painted face), Chou (comedian)

Model Operas

Series of shows planned/engineered during Chinese cultural revolution, music similar to previous operas, but the stories described Chinese revolutionary struggles and the war against Japan

Social clubs

sizhu is an amateur/informal genre, music clubs is where people get together to play, emphasis on community

civil/military sections

sections of Jingu opera, civil is led by Jingju fiddle melodically, military led by strident reeds

Sanjo

traditional semi-improvised instrumental solo music in Korea

P’ansori