Music survey definitions exam 1

Ethnomusicology is the study of music within the context of culture and society, recognizing it as a fundamental aspect of human experience. Ethnomusicologists view music as essential to human identity and understanding, emphasizing the importance of exploring music from all cultures and historical periods without preconceived judgments of its value or quality.

Alan Merriam’s Tripartite Model involves examining any musical piece through three interconnected elements: sound, concept, and behavior. Sound refers to the music itself. Concept addresses why people create certain sounds, focusing on their function and underlying reasons. Behavior encompasses all human activities related to the production of sound, including both performers and audiences.

Rastafari is a Jamaican syncretic religion that combines elements of Protestant Christianity, Judaism, and West African rituals, with a focus on the divine presence of God, or Jah, among the people. Central to the faith is Haile Selassie (1892–1975), known as the “Might of the Trinity,” who is regarded as the Messiah of Ethiopia. The Rastafari movement places great emphasis on the return to the African homeland. Additionally, dreadlocks, a prominent symbol in the movement, represent peace and opposition to war, reflecting a belief in refraining from the use of sharp objects on the body. Many reggae musicians, including Bob Marley, were followers of the religion.

Diaspora refers to the movement and dispersal of people from their homeland to different parts of the world, resulting in the spread of their culture, traditions, and beliefs. This scattering of cultures occurs when people migrate, either voluntarily, in search of better opportunities, or involuntarily, through processes like enslavement, war, or political exile. Throughout history, major diasporas have shaped the cultural landscapes of various regions, as communities from one place take root in new locations, adapting to local influences while preserving key aspects of their cultural identity. The term is commonly used to describe the global dispersion of communities resulting from historical events, such as the African diaspora or the Jewish diaspora.

Vimbuza is a traditional healing and religious ritual practiced primarily by the Tumbuka people in northern Malawi and among some neighboring ethnic groups in Zambia. It involves a combination of music, dance, and spiritual possession. Vimbuza is regarded as a potent method of healing and spiritual connection within these communities. While modern healthcare systems sometimes discourage or clash with traditional healing practices like Vimbuza, it remains a vital component of the cultural heritage and spiritual beliefs of the Tumbuka people and their neighbors.

The Graceland is a highly acclaimed album by American singer-songwriter Paul Simon. In the mid-1980s, during the era of apartheid in South Africa, Paul Simon traveled to the country to work on “Graceland,” where he collaborated with South African musicians, including the vocal group Ladysmith Black Mambazo and Mariam Makeba as well as other artists and session musicians. Beyond its commercial and critical success, "Graceland" had a profound impact on world music and introduced many listeners to the sounds of South African music. It contributed to greater awareness of South African culture and the anti-apartheid struggle.

Ssitgimgut or “Cleansing Ritual for the Dead” is a traditional Korean shamanistic ceremony conducted to guide the spirits of deceased individuals to the afterlife and ensure their peaceful transition. This ritual holds great cultural and spiritual significance and is performed by a shaman, also known as a “mudang.” Ssitgimgut is indeed considered a significant source and influence on traditional Korean music. While Korean music is diverse and has evolved over centuries, Ssitgimgut, as a form of shamanistic ritual music, has contributed to the development and preservation of certain musical elements, rhythms, and cultural traditions in Korea.

Sinawi Much like jazz, sinawi is a type of instrumental ensemble music derived from shaman music and reflects the improvisation and the musical spontaneity of the musicians. Within fixed melodic modes and rhythmic patterns, this music demonstrates a soulful and high artistic caliber in both rhythm and melody, while supporting traditional dance movements. The music and the instrumental sonorities represent the constituent elements of the shaman ritual. Instrumentation includes gayageum, geomungo, haegeum, ajaeng, daegeum, and janggu. These instruments perform together or individually in an improvisational style within particular rhythmic patterns and melodic types, especially gyemyeonjo (sad and weeping mode).

Sanjo is a significant genre of Korean music, rooted in the indigenous shamanic traditions that are rich with Korean spirit and sentiment. As a form of solo instrumental music, sanjo allows for impressive displays of virtuosity within its multi-movement structure. It is built upon a series of jangdan (rhythmic patterns) that progress from slow to fast tempos, including jinyang, jungmori, jungjungmori, jajinmori, and wheemori. The soloist interacts dynamically with the rhythmic accompaniment provided by the janggo, a traditional hourglass-shaped double-headed drum, enhancing the performance's complexity and emotional depth.

Jangdan is a fundamental and essential concept in Korean traditional music, particularly in relation to rhythm and percussion. Jangdan refers to rhythmic patterns or cycles that serve as the rhythmic framework for various forms of Korean traditional music and dance. These patterns are an integral part of organizing and structuring the music, providing a rhythmic foundation for both instrumental and vocal performances.

Jiangnan Sizhu is a representative genre of Chinese folk music, traditionally performed by amateur musicians in the Jiangnan region, south of the Yangtze River, particularly in Shanghai and surrounding areas. It is a chamber ensemble style, commonly played in teahouses and social gatherings. The name “Sizhu” (silk and bamboo) reflects the primary materials of its instruments. “Silk” refers to string instruments such as the pipa, a plucked lute; the yangqin, a hammered dulcimer; the yueqin, a moon-shaped lute; the erhu, a two-stringed bowed fiddle; and the sanxian, a three-stringed lute. “Bamboo” represents wind instruments, mainly the dizi, a bamboo flute. Jiangnan Sizhu is characterized by a pentatonic scale and a heterophonic texture, where multiple instruments play the same melody with subtle variations, creating a rich and dynamic sound. It often employs cypher or number notation in its musical scores.

Khöömei is a traditional Mongolian overtone singing technique characterized by the simultaneous production of multiple pitches. It involves creating a fundamental drone while producing a distinct whistling-like overtone above it. This unique vocal style often includes a low, grumbling undertone, generating a harmonic resonance that allows the singer to produce both deep and high frequencies at the same time. This technique is deeply rooted in Mongolian nomadic culture, often associated with nature and spiritual connections.

Sankyoku, meaning “trio,” is a traditional Japanese chamber music ensemble featuring three primary instruments: koto, a long zither with movable bridges; shamisen, a three-stringed lute; and shakuhachi, a bamboo flute. This music is known for its serene yet deliberate quality, embodying the refined elegance of Japanese classical tradition. Musically, Sankyoku employs a heterophonic texture, in which each instrument plays a slightly varied version of the same melody. This interplay creates a rich, layered, and expressive sound unique to the ensemble.

Jingju, commonly known as Beijing Opera, is a traditional form of Chinese theater that combines music, vocal performance, mime, dance, and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. Traditionally, roles in Jingju are categorized into four main types: Sheng (male roles), Dan (female roles), Jing (painted face, male roles), and Chou (comic roles), all played by male actors. The best-known work for the genre is “Farewell My Concubine.”

Yangbanxi (literally “model works”) refers to a set of revolutionary operas and ballets produced during the Cultural Revolution in China (1966-1976). These works were endorsed by the Chinese government, particularly by Jiang Qing, the wife of Chairman Mao Zedong, and were among the few cultural productions allowed during this period. The primary aim of Yangbanxi was to glorify the Communist Party, Maoist ideology, and the revolutionary spirit. They were designed to educate and inspire the populace with Communist values. The best-known work for the genre is “Red Detachment of a Woman.” 

Noh Theater is a traditional form of Japanese Masked drama that combines elements of dance, drama, music, and poetry into a highly stylized performance. It is one of the oldest still-practiced forms of theater in the world, with its origins dating back to the 15th century. Instruments include instruments in Noh theater: Nohkan (Piccolo-like Flute), Kotsuzumi (Shoulder Drum), Otsuzumi (Hip Drum), and Taiko (Large Stick Drum). These instruments, along with the skillful performances of the shite (main roles) and waki (supporting roles), create a harmonious and immersive experience that is characteristic of Noh theater. 

Kabuki is a traditional form of Japanese theater known for its highly stylized performance, striking makeup, elaborate costumes, and intricate stage mechanisms. Originating in the early 17th century, Kabuki has evolved over centuries to become one of Japan's most famous cultural icons. The tradition of men performing female roles in Kabuki theater, known as “onnagata,” is a central and fascinating aspect of this Japanese art form. The art of onnagata is highly respected in Japan and is considered an integral part of the Kabuki tradition. It challenges conventional ideas of gender and performance, showcasing the skill and artistry required to convincingly portray characters of a different gender.

Gamelan is a traditional ensemble music of Indonesia, predominantly from the islands of Java and Bali. Gamelan music uses two primary tuning systems, slendro (a five-note scale) and pelog (a seven-note scale). The scales are not standardized, and each Gamelan set is tuned to itself, which means that the instruments from one set are not interchangeable with another. The ensemble typically consists of a variety of instruments.

Irama Ketawang/Lancaran

The concept of irama in Gamelan music, particularly in terms of time, space, and density, is a complex and nuanced aspect that differentiates it from the Western concept of tempo. Understanding irama involves appreciating how it influences the musical structure, especially in forms like Ketawang (low density) and Lancaran (high density). In Gamelan, irama is not just about the speed of the music but how the melody occupies the temporal space within the gongan cycle. It's about the distribution of musical events over time. The gongan cycle is the basic structural unit in Gamelan music. It is a rhythmic cycle that ends with the striking of the largest gong, known as the gong ageng. The length of a gongan can vary but typically consists of a specific number of beats (usually 16 beats) or measures.