MUSIC 0311 Overview Cards

In Akan (Ghanaian) music, the iron bell instrument that plays a constant timeline pattern anchoring the ensemble is called the ______.

Dawuro

In Akan (Ghanaian) music, the repeating rhythmic pattern played by the dawuro that organizes all other drum parts is called the ______ pattern.

Bell (timeline)

In Akan (Ghanaian) music, the interaction of multiple independent rhythmic lines occurring simultaneously is called ______.

Polyphony

In Akan (Ghanaian) music, stacked repeating rhythmic patterns that create texture are called ______ ______.

Layered ostinato

In Akan (Ghanaian) music, drum parts interacting like speech and responding to each other and dancers is called ______ texture.

Conversational

In Akan (Ghanaian) culture, the ruler whose authority is represented through music such as the Fontomfrom ensemble is called a ______.

Nana

In Akan (Ghanaian) music, the royal drum ensemble used to communicate political authority is called ______.

Fontomfrom

In Akan (Ghanaian) music, the drum that mimics tonal speech patterns of the Twi language is called the ______.

Atumpan

In Akan (Ghanaian) music, the Twi language is important because it is a ______ language, allowing drums to mimic speech.

Tonal

In Akan (Ghanaian) music, removing the dawuro would cause the ensemble to lose its ______ reference point.

Rhythmic (or structural anchor)

In Mande (West African) music, hereditary musician-historians responsible for praise singing and preserving history are called ______.

Jeli (or griot)

In Mande (West African) culture, the musical practice performed by jeli musicians is called ______.

Jeliya

In Mande (West African) music, the 22-string harp-lute instrument central to performance is called the ______.

Kora

In Mande (West African) music, the xylophone-like instrument used alongside the kora is called the ______.

Bala (balafon)

In Mande (West African) music, the plucked lute instrument also called koni is called the ______.

Ngoni

In Mande (West African) kora performance, the repeating foundational ostinato pattern is called ______.

Kumbengo

In Mande (West African) kora performance, virtuosic melodic flourishes are called ______.

Birimintingo

In Mande (West African) vocal performance, the forceful praise singing style is called ______.

Sataro

In Mande (West African) music, blending multiple musical traditions is called ______.

Syncretism

In Mande (West African) history, the founder of the Mali Empire was ______ ______.

Sunjata Keita

In Shona (Zimbabwean) music, the religious ceremony involving spirit possession and all-night music making is called a ______ ______.

Bira ceremony

In Shona (Zimbabwean) music, the lamellophone instrument central to performance is called the ______.

Mbira dzavadzimu

In Shona (Zimbabwean) music, the gourd rattle that provides a steady pulse is called the ______.

Hosho

In Shona (Zimbabwean) music, the term meaning “to lead” in performance practice is ______.

Kushaura

In Shona (Zimbabwean) music, the term meaning “to follow” in performance practice is ______.

Kutsinhira

In Shona (Zimbabwean) music, kushaura and kutsinhira are described as ______ because roles shift dynamically.

Verbs

In Zimbabwean music, the genre associated with political resistance is called ______.

Chimurenga

In Zimbabwean music history, the musician who adapted mbira patterns into electric band music is ______ ______.

Thomas Mapfumo

In Zimbabwean history, the colonial name of Zimbabwe was ______.

Rhodesia

In African American music studies, overlapping identities that shape musical experience are described as ______.

Intersectionality

In African American music, Mellonee Burnim’s three defining criteria are sound quality, ______, and ______.

Technique; Delivery

In African American music theory, Amiri Baraka described Black music as the “______ ______.”

Changing Same

In African American music history, the three streams identified by Burnim are ______, ______, and ______.

Sacred; Secular vocal; Secular instrumental

In African American music history, music created for religious worship such as spirituals is called ______ music.

Sacred

In African American music history, a secular genre expressing personal and social experience is called the ______.

Blues

In blues music, the style defined by acoustic guitar and solo voice in rural Southern settings is called ______ blues.

Rural

In blues music, the style defined by electric instruments and band performance in cities is called ______ blues.

Urban

In blues music, the style associated with female singers and vaudeville settings is called ______ blues.

Classic

In American music history, the racist theatrical tradition involving exaggerated stereotypes is called ______.

Minstrelsy

In American performance history, the use of dark makeup to portray Black characters is called ______.

Blackface

In American music history, records marketed to Black audiences were called ______ records.

Race

In American music history, race records both ______ and ______ Black music.

Exploited; preserved

In Indonesian music, the gamelan genre associated with West Java and aristocratic courts is called ______.

Degung

In Indonesian music, the 5-tone scale system used in Degung is called ______ ______.

Pelog Degung

In gamelan music, the largest gong marking the end of a cycle is called the ______.

Goong

In gamelan music, the drum that leads the ensemble and controls tempo is called the ______.

Kendang

In gamelan music, the bamboo flute providing melodic elaboration is called the ______.

Suling

In gamelan texture, higher-pitched instruments playing faster patterns than lower ones is called ______ ______.

Stratified polyphony

In gamelan texture, instruments playing simultaneous variations of the same melody is called ______.

Heterophony

In gamelan music, the gong-marked cyclical organization of time is called ______ ______.

Colotomic structure

In Indonesian music, small cyclic pieces with repeating gong cycles are called ______ ______.

Sekar alit

In Indonesian music, larger pieces with longer, less strictly cyclic phrases are called ______ ______.

Sekar agung

In Balinese music, the vocal-only gamelan tradition using interlocking syllables is called ______.

Kecak

In Balinese music, the three-part interlocking rhythmic pattern used in Kecak is called ______ ______.

Kilitan telu

In Balinese culture, kilitan telu represents ______ interdependence.

Communal

In Balinese performance, the epic narrative enacted in Kecak is the ______.

Ramayana

In Balinese ritual, the trance ceremony influencing Kecak is called ______ ______.

Sanghyang Dedari

In Balinese cosmology, the three-world system structuring spiritual belief is called ______.

Triloka

In Balinese religion, the cremation ceremony required to release the soul is called ______.

Ngaben

In Balinese ritual, the soul being protected during cremation is called the ______.

Atma

In Balinese music, the processional ensemble used during cremation ceremonies is called ______.

Beleganjur

In Balinese ritual, beleganjur music is used to ______ off evil spirits and guide the soul.

Ward

In Balinese music, a dense layered sound considered spiritually powerful is called ______.

Ramé

In Balinese music, performance-based competition style is called ______ beleganjur.

Kreasi

In Balinese performance, choreographed movement is called ______.

Gerak

In global music studies, the spread of gamelan traditions worldwide is called ______ gamelan.

Global

In intercultural composition, Lou Harrison approached gamelan by ______ traditional structures.

Studying

In intercultural composition, Philip Corner used a ______-based approach.

Process

In Indonesian music, the composer who explored collaboration limits in “Paragraph” is ______ ______.

Rahayu Supanggah

In Indonesian music, the composer known for hybrid identity across traditions is ______ ______.

I Wayan Sadra

In Indian music, the North Indian classical tradition is called ______.

Hindustani

In Indian music, the South Indian classical tradition is called ______.

Carnatic

In Indian music, the melodic framework including scale and mood is called a ______.

Rag

In Indian music, a rag includes scale, ornaments, improvisation rules, compositions, and ______ ______.

Extra-musical associations

In Indian music, a lineage or school of training is called a ______.

Gharana

In Indian music, the drone instrument providing tonal foundation is the ______.

Tambura

In Indian music, the main percussion instrument is the ______.

Tabla

In tabla performance, the right-hand drum is ______ and the left-hand drum is ______.

Daya; Baya

In tabla playing, the spoken syllables representing strokes are called ______.

Bols

In Indian rhythm, the repeating pattern played on tabla is called the ______.

Theka

In Indian music, a rhythmic cycle is called ______.

Tal

In Indian music, the first beat of a cycle is called ______.

Sam

In Indian music, the empty beat is called ______.

Khali

In Indian rhythm, a phrase repeated three times to resolve on sam is called ______.

Tihai

In Indian classical music, the slow unmetered introduction is called ______.

Alap

In Indian music, the section where pulse begins but no drums are present is called ______.

Jor

In Indian music, the composed section with tabla accompaniment is called ______.

Gat

In Indian music, the fast virtuosic ending section is called ______.

Jhala

In Indian vocal music, the long-form classical genre emphasizing improvisation is called ______.

Khayal

In Indian vocal music, the fast ornamented semi-classical genre is called ______.

Tappa

In Indian music history, tappa originated from ______ driver songs.

Camel

In Indian music history, the musician credited with formalizing tappa is ______ ______ ______ ______.

Mian Ghulam Nabi Shori

In Indian aesthetics, the emotion of love is called ______.

Shringar

In Indian aesthetics, the emotion of separation or longing is called ______.

Viraha

In Indian music, the feminine persona in vocal expression is called ______.

Nayika

In Indian vocal technique, zigzag melodic runs are called ______ taans.

Zamzama

In Indian vocal technique, sudden upward leaps are called ______ taans.

Chhuut