World cultures final (camilles notes)

-Yo-Yo Ma: Cellist, launched the Silk Road Project. Performs many different musical styles. Born in Paris, moved to New York, studied at Juilliard -Silk Road Project: Studies the historical and present day flow of culture and ideas along the trans-Eurasian trade routes. Present music and musicians from cultures along the ancient Silk Road, and commissions new music from composers from these regions. -Wu Man: Virtuoso player of the Pipa (plucked lute). Played a variety of different music (Pipa: From a Distance Brings together traditional and experimental elements, like playing an electric pipa with a western bow). Plays High Little Moon in the silk road track. - Aga Khan Trust for Culture: main funder -The Silk Road: A musical Caravan - Masters and Traditions, Minstrels and Lovers -Music mainly from the center, less from the west -Mido Mountain: Combines Yo-Yo Ma and Wu Man, a traditional piece named after a villate in China’s Yunnan Providence. Cello, pipa, and sheng (chinese mouth organ) General: Micromusics: Ethnomusicologist Mark Slobin’s term for small unis within big music cultures Panoptic: View of an event of performance from a distance, from a detached vantage point. Contrast with panoramic Impresario: A manager of performers or a director of a concert series Subculture: A group of people who share a common identity and related practices, whether based on ethnicity, religion, language, or generation, that are perceived as distinct from others within a given society. Contrast with intercultural and superculture Superculture: The sphere of musical interaction hat involves the power of the state and international industries, and the assumptions and expectations they generate. Interculture: The sphere of interaction between musical subcultures Copyright: The legal protection of intellectual property Silk Road: Duple Meter Pentatonic Gracenotes Tremolo: vibrato basically but varying intensity Glissando Pipa: Chinese plucked lute with roots in central asia Sheng: Chinese free reed aerophone with vertical pipes Erhu: Chinese bowed lute Ostinato: A short musical pattern that is continually repeated Vibrato: Fluctuation of a sound by varying the pitch of the sound Crescendo -Tango roots in rural Argentinean gaucho and African influences join with the creativity of European immigrants -Bandoneon: button accordion, slowly displaced guitars in tango. Tango music: Bandoneon distinctive sound, syncopated rhythms of traditional gaucho and African styles. Vivid description of life’s hardships in the slums of the arrabal of Buenos Aires. Quadruple meter, strongly emphasized in the bass. -Habanera rhythm: Instrumental accompaniment with a long-short rhythmic pattern, consisting of a long beat followed by one that is half its duration. Cuban. -Circular counterclockwise dance -Man well dressed, compadrito, confronts the woman -Single Cortez: From 1914, tango move -Ensembles consist of piano, violin, and bandoneon. “Orquesta Tipica”. Eventually it increased to include four bandoneones, violins, a cello, and double bass. -La Cumparsita: The Little Carnival Procession, march in duple meter. Arranged into a tango in quadruple meter. Two alternating main sections. Violin countermelody. Lyrics: “views of love and life in highly pessimistic, fatalistic, and often pathologically dramatic terms” -Around 1910, the tango is said to have moved from the feet to the mouth, and tango music now was sung. ^ example -Organitos played tangos throughout the streets of arrabal. Tango became associated with poverty, low social class, and ill repute. -Milongas: predecessor of the tango -Carlos Gardel: Singer most responsible for the internationalization of the tango -Astor Piazzolla: Created a purely instrumental “new tango” -Adios Nonino: A substantial expansion of the traditional tango form, with more repetitions of its themes. -Ballroom tango: International style vs American style. Less of a close embrace -American style: social -International style: simpler than Argentinian dance, highly choreographed for competitions General: Choreology: The study of dance steps Couple Dance: Dance in which two people perform face-to-face within an intimate space, especially common in dances of Western European origin Line Dance: Dance performed by multiple dancers side by side or in a horizontal sequence, particularly popular in the Middle East Pas de Deux: Extended duet in Western ballet between the leading female and leading male dancer Mime: Movement form that imitates characters or actions through exaggerated silent gestures Capoeira: Afro-Brazilian performance style that combines elements of martial art, dance, and musical accompaniment; the name of practitioners of this martial art/dance Martial Art: Form of patterned movement such as boxing, fencing, judo, or karate, that embeds values of a particular culture Berimbau: Musical bow used to accompany capoeira Berimbau Gunga: Lowest and loudest berimbau Berimbau Medio: Middle range Berimbau Viola: Highest range Roda: Capoeira ring where stylized physical motions are performed by two competing performers Tango: Bandoneon: A button accordion associated with the tango Accordion: A free aerophone with reeds that are hidden within two rectangular headboards connected by a folding bellows, with keys or buttons to play a melody and chords Compadrito: Urban Argentinian cowboy and underworld figure whose posture and duress influenced the male tango dancer Bellows Shaking: An accordion technique that results in an intensified tremolo or vibrato Habanera rhythm: Long-short Cuban rhythm prominently used in the tango Step (or figure): Standard movement pattern in dance Orquesta Tipica: Instrumental ensemble with one or more bandoneon, string instruments, and piano that played tango to accompany dance. Gaucho: The argentinian word for cowboy Tango-romanza: Early form of the tango, with two contrasting sections, both set in quadruple meter with long-short rhythms Tango song: Sung tango, with a more irregular tempo for dramatic purposes Countermelody Organitos: Spanish for organ grinder Sonata form: A Western classical form that generally consists of an exposition, in which one group of themes is presented in a home key and a second in a foreign key; a development section, in which the themes are elaborated on; and a recapitulation (restatement) in which both groups return, in the home key Development: The process of elaborating or varying a theme; the middle, contrasting section of Western Sonata form Restatement: Repetition of a melody or section of music Milonga: Argentinian gathering featuring tango music and dance Syncopation Ritardando Coda Tibetan Chant: -chant: plainchant or plainsong. Type of vocal expression in which clarity and the precise articulation of the sacred words are of utmost importance. -Buddhists believe that performing chant moves the singer through the ritual process to a transformed state -Distinctive vocal style that generates a deep, fundamental pitch that produces audible harmonics. Tibetan monks may have learned this through contact with Inner Asian khoomii singers -Pleasant to hear, sweet, relaxed character and clarity of enunciation -dedication to a deity (Mahakala) -melody is organized around simple melodic patterns that vary in length. -biphonic vocal style of the monks includes a low fundamental in the bass as well as a harmonic high above it. Sometimes called “The Tantra Voice”, or “the mdzo voice”, cross between a yak and a cow. Higher sound is the fifth and the tenth. Fundamental hovers around C, accompanied by cymbals and drums, and a bell. -rhythmic organization: complex mathematical organization of rhythmic structures, demarked by the cymbal beats. -Mandala: form represented by cymbal motions and sounds during the Mahakala ceremony. Diagram used in Buddhism and Hinduism to map various levels of reality. -brdung (dung): cymbal beat, composed of accelerating, unequal pulses, generated by the manner in which the instrumentalist brings together and then moves the rims of the cymbals against each other. -Each beat, or grouping of two or more beats, includes “afterbeats”, counted as part of the preceding beat. Shorter and softer -Rhythms do not fit comfortably with western connotations. Not metered, cyclical, or regular. Follow broader mathematical proportions that are meaningful within Buddhist belief -Occasionally been presented in public performance -Gyuto Tantric Choir: Visited the US in the late 1900s. Released a recording, but the chant is a prayer that is said anew each time the recording is played -The chant is now associated with the cause of Tibetan independence Santeria: -Afro-Cuban religion derived from the Yoruba cult, incorporating southwestern Nigerian language and practices that were transplanted to the Caribbean and combined with aspects of Catholicism. -Cabildos: organizations established by various linguistic and cultural groups as mutual aid societies and centers for entertainment. Originally where slaves could worship, became banned by the Cuban government. -Lucumi cult: the name by which Yoruba beliefs came to be known in cuba. Worshipped African deities combined with catholic saints -At the center of Santeria religious practice is the performance of music, drumming, and dance as part of complex rituals that seek to achieve divination and trance. Sacred drums: bata and kebaro. Both have drumhead at each end -Bata: Santeria, played in sets of three (different sizes). Large drum decorated with brass bells, middle drum converses with large, smallest drum plays ostinatos. Connected by tension cords that control pitch -Kebaro: One larger and one smaller head. Secured by laces, untuned. Brightly colored. Large kebaro for church, smaller version for secular music and dance. -Mid 1900s, santeros fled cuba and entered US, divided into houses -Believed the gods possessed those who were worthy, dangerous for those not -Chants in call and response style, with or without accompaniment. -New performance settings, including NYC -Eya Aranla: ensemble performing Santeria music. Headed by Milton Cardona, drummer, the only professional in the group. Ensemble does not rehearse. Percussion partys played by bata drums, produce a conversation with orisha. Complex polyrhythmic texture accompanying the call-and-response of the vocal chant. -Uses pentatonic scale. -chant lyriques passed down orally, changes often Ethiopian Christian Chant: -Ethiopian Christian Orthodox Church. Maintained close relations with the coptic church of egypt -North America became the largest and fastest-growing location for Ethiopians abroad -Zema: chant, a pleasing sound. Attributed to Saint Yared. Transmitted through oral tradition, , musical notation invented amid Muslim destruction -Setting: within a ritual, Mahlet, performed for hours throughout the night on holidays. Church musicans are obligated to perform two dozen types of chant -Chants are sung with different forms of instrumental accompaniment and dance. Growing sense of excitement, ends abruptly in complete silence. All participants experience something approaching an altered state. -Yome fesseha kone: Chant, christmas. Excitement. -Bethlehem and Qoma styles: Bethlehem is loud and robust, Qoma is softer and more fluid. -Rhythm of a chant closely follows that of the text -frequent and distinctive vocal slides, called rekrek, Ge’ez mode -emphasized returning tone -Each notational sign represents a short melody, linked together to constitute a phrase of the chant. Ideally it is performed memorized -Ethiopian Church established throughout North America. Ethiopians today constitute the second largest new African community in the United States. -Hard circumstances made it difficult to gather the funds necessary to support ethiopian christian worship. -Lively congregation, some traditional Ethiopian dress. Prayers in Ge’ez language. -women began participating in early 1990s, changes first emerging in Ethiopia. -Songs of Praise: Father Tsehai composed a book of hymns, to attract youth to worship -new choirs , barely tolerated by many priests, dominated by women. Women also take over other roles restricted to men. -Sunday school songs General: Ritual: An established set of rites, or the observance of such a set of rites Communitas: Feelings of social union and togetherness generated by rituals Tibetan Buddhist Chant: Sadhana: A tibetan buddhist ritual meditation text Mantra: Ritual phrase or formula in buddhism Dbyang: Type of biphonic tibetan chant characterized by sustained notes in a low register and audible harmonics Dbyangs-yig: A song book of Tibetan dbyang; literally, “written account of the song” Rol mo: Instrumental ensemble accompanying Buddhist chant; the cymbals Biphonic singing: A singing technique of inner asian origin in which two tones, the fundamental and an overtone, are made audible simultaneously by a single singer, also known as harmonic singingin Tantra voice: Biphonic singing style used in tibetan buddhist rituals, associated with tantric belief and philosophy Mdzo voice: Colloquial term for biphonic vocal style Mahalaka ritual: Ceremony in honor of deity Mahalaka Tibetan buddhist Mandala: circular symbol in Buddhism representing the universe Brdung: Beat in tibetan buddhist musical practice Santeria: An Afro-Cuban religious and musical practice Cabildos: Mutual aid societies established by slaves in cuba that also transmitted Yoruba-derived rituals Orishas (santos) saint, in the santeria tradition Santero: Initiated priest of the orishas in santeria Bata drums: double-headed membranophones usually played in sets of three, in santeria ceremonies Toque: the rhythmic patterns played by the bata drum in Santeria ceremonies and by the berimbau in capoeira Viro (vuelta): A turn, referring to a change in toque during santeria performance Ethiopian Christian Chant: The music of the Ethiopian Christian liturgy. Hymnary: Chant book containing repertory performed in Ethiopian Christian rituals as well as the performance of these chants Mahlet: Performance of the HYmnary on annual Ethiopian Christian holidays accompanied by instruments and dance Kebaro: Ethiopian double-headed conical membranophone Zema: Ethiopian Christian chant; the music of the Ethiopian Christian liturgy Dewel: Resonant stone slabs struck to call Ethiopian Christians to prayer Melekket: The notational signs in Ethiopian Christian Chant, derived from Ge’ez language characters, each representing a short melody; can refer to one sign or to the entire system. Debtara: Ethiopian church musicians who are also scribes and healers Marigeta: Head of the musicians (debtara) in the Ethiopian Christian church Angergari: A group of celebratory Ethiopian christian chants Qum Zema: Ethiopian term for monophonic chant or plainchant Rekrek (Slide): The vocal slides characteristic of the Ge’ez mode Falsetto Melisma: Vocal embellishment with three or more pitches performed on one textual syllable Cadence Antiphonal style: A performance practice that features alternation between two or more groups of singers or players Sunday School Songs: A repertory of Ethiopian Christian hymns first composed in the 1960s with texts in the vernacular language, Amharic, instead of in Ge’ez Chapter IX - Music and Politics (351-359) The Birth of a National Anthem: -Nkosi Sikelel’ iAfrika (“Lord, Bless Africa”): Originated as a Christian hymn, quickly turned into a musical emblem of political resistance and became a national anthem in the 1990s. Inspired resistance against apartheid, and became an international symbol of victory in the fight for racial equality. Enoch Mankayi Songonga: Choirmaster, teacher in South Africa. Composed Nkosi Sikelel’ iAfrica as a hymn. -no standard translation -Internal repetition within the melody and rhythm of the five phrases of the song’s refrain. This is characteristic of indigenous South African melodies. “Iterative forms”. Includes some call and response -Influenced by western harmonies, brought by western missionaries. -South Africans founded touring choral groups that performed western music and zulu dance and wedding songs. Primarily homophonic texture reflects strong western influence -Sang at the African National Congress, became banned by the South African government -Die Stem van Suid Afrika: Used to be South Africa's national anthem -Used both songs as national anthem for a while to try and reconcile. A “manifestation of the desire to achieve a national consensus”. -Government approved a single, composite national anthem. Composed by Edmund Bourne, and John Hendricks. -New national anthem consists of four verses in four different languages; Zulu and Sesotho and Afrikaans and English. -The new anthem was not accepted without controversy and protest. South African National Anthem: Apartheid: Official laws of racial segregation enforced in South Africa until 1990 Iterative forms: Consisting of short, repeated melodic segments Voice parts: Produced by the voice, whether by one person or many Bes: bass Thena: Tenor Altha: Alto Fast Pathi: Soprano Anthem: Song expressing loyalty or patriotism Hymn: Sacred vocal genre sung during worship ceremonies Homophonic: A musical texture, as in the western hymn, where the parts perform different pitches but move in the same rhythm Strophic form: A form in which all verses of text are set to the same meloy. Strophic form can include a refrain that is sung between verses Zulu: South African language and ethnic group Sesotho: South African language Xhosa: South African language and ethnic group Afrikaans: South African language and ethnic group -“Invention of tradition”: describes the way identities can be constructed without reference to actual historical realities. -While Cajun and Creole styles interacted with each other - and African American traditions - they created Zydeco music. Lei Liang: -Born in 1972, Tianjin, China, during China’s Cultural Revolution. -the cultural revolution effectively brough independent composing, performing, and teaching to a halt, due to the “gang of Four”, a prohibition against creative work. -After the revolution, the “new wave” of Chinese composers emerged -Bright Sheng, Tan Dun, Chen Yi, and Zhou Long, migrated from China to the West in the early 1980s. -Lei Liang migrated to pursue higher education and composition careers abroad. His compositions draw on his Chinese heritage, ranging from the incorporation of traditional instruments, timbres, and melodies to a deep engagement with a wide array of Asian musical styles and philosophical perspectives. -Gobi Gloria: Song played by Liang’s string quartet that absorbs different cultural influences, and transforms them -Gloria is the section of the Roman Catholi Mass that offers praise to God. Gobi Gloria is a celebration of Mongolia’s Gobi Desert, the largest desert in Asia and part of the historical Silk Road. -Calls the secondary line a “shadow”, his music has an ongoing dialogue between the primary voice and the shadow -He is particularly interested in transforming sound quality or timbre of single notes through using different instruments and articulations -Interest in Mahayana Buddhism and its emphasis on editation helped him to value a “profoundly deep silence upon which I seek to inscribe my signature through sound” -Serashi: A virtuoso musician that Liang embraced. “You must put the entire weight of your whole life into every single note you play.” -Uses “breathing” and adheres to the concept of transformation, approaching sound as a “living entity, its latent dynamics and hidden forces mirror an individual’s adaptation in a complex and ever-changing world” Multiple Identities in Cajun and Zydeco Musics: -Both speak French, and from Southwest Louisiana -Zydeco music: emerged in the mid-twentieth century. Since then, the two traditions have interacted despite racial division and tension. Cajun: -Settled in Louisiana in 1762, many moved southwest. Came in contact with many Spanish, Native Americans, European Americans, and African AMericans. This mix gave rise to a rich, distinctive culture and musical style that came to be known by the term “cajun” -contributed to other musical styles, such as “cowboy songs” -Hip and Tiyo, may have inspired “Hipiyaye, Tipiyayo”. -”Allons a Lafayette”: considered the first recording of a Cajun song General: Muzak: Customized, recorded music used to provide sonic background and set mood in public spaces Barbershop Quartet: A cappella ensemble of four men singing in close harmony Identity: Defining characteristics by which a person is recognized by him- or herself and by others Ethnic group: People within a larger society who have common ancestry, memories of a shared historical past, and elements in common such as kinship, religious affiliation, and/or language. Invented traditions: Traditions constructed without reference to actual historical realities Consort: Group of like instruments, such as strings and winds, in different sizes and ranges Orchestra Lei Liang: String Quartet: ensemble consisting of two violins, a viola, and a cello Cultural Revolution: Decade (1966-76) of social and political upheaval initiated by Mao Zedong in china New Wave Composers: Chinese composers who emerged after the Cultural Revolution Gloria: Section of the Catholic Mass that offers praise to God Drone Shadow: Lei Liang’s term for a secondary melodic line in his compositions One-note polyphony: Technique used by composer Lei Liang in which the same pitch is sounded in different instruments with different timbres Guqin: Seven-string Chinese zither Breathing: Lei Liang’s term relating the flow of melody to the human breath Long song: Mongolian song and its vocal style with a dramatically wide range Living entity: Lei Liang’s concept of sound transformation Wenren: Traditional Chinese philosopher-artist Transcultural music: Music that crosses cultural boundaries and is shared by different peoples Jinghu: Two-string Chinese fiddle Peking opera: Chinese opera genre that includes music, dance, drama, and acrobatics Mahayana Buddhism: Major school of Buddhism in East Asia Calligraphy: Literally, “beautiful writing” Heterophonic texture Inversion: Intervals that move in the opposite direction of the original melody Retrograde: Melody presented backward, from the end to the beginning Glissando Pizzicato Col Legno: Striking a string with the wood of the bow Cajun/Creole: People of color with mixed heritage in the West Indies and Southern United States Bayou: French-derived word for a swampy stream Ethnic recordings: 78-rpm discs issued from approximately 1900 to 1950, targeted for a particular subgroup united by a shared national, linguistic, racial, or religious background. Fiddle: A name used for the violin in the context of a wide range or Euro-American folk and vernacular musics. Any bowed instrument of the lute family. Cajun: A corruption of the term “Acadian,” a French-speaking people in Louisiana; their style of music; their cultural lif Fais-dodo: A Cajun term meaning dance music; the dance halls where such music is performed Cajun jitterbug: Cajun dance with knee and ankle bends on beats 2 and 4 Cajun two-step: Cajun dance with sinking movement on beats 1 and 3 Two-step: Cajun dance with sinking movement on beats 1 and 3 Double bounce: Distinctive Cajun sinking dance movement on beats 1 and 3 Rhythm section Antecedent-consequent: First half of the phrase is completed by the second half; often compared to a question and an answer Creole: People of color with mixed heritage in the West Indies and Southern United States Code noir: An eighteenth century social system with a free black class Zydeco: Dance music that emerged in the 1950s among the Creoles of the Gulf Coast. The name zydeco is said to derive from a French expression, les haircuts (literally, “the beans”), alluding to a metaphor popular among creole peoples of color that “the beans are not salty,” that is, they are not flavored by expensive salted meat. Gumbo: Spicy creole stew Frottoir: Idiophone (rub board) used in zydeco Bals de Maison: Creole and Cajun dance houses Patois: Dialect Fill Call and Response Pick-up Swing Rhythm