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| Anything that stands for something else that creates an effect perceived as meaningful to someone. (Icon, Index, Symbol) |
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sign connected to an object through resemblance between the sign and the object (internal context).
example:music genres |
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-Sign connected through experiencing a sign and an object together (co-occurance).
-more emotional type of sign |
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| Connection between sign and object is based on language, and an agreed upon definition of a word. |
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| A single melodic line with accompaniment. |
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| 2 or more instrument or voices performing variants of a melody simultaneously, but not in strict unison. |
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| Music with two or more melodic parts sounding together |
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| A piece of music with 2 or more independent melodic lines |
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A unit of cultural identity based on a restricted number of shared habits and similarities of parts of the self.
Examples: age, gender,grade, religion,skin color and occupation |
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--This area's music tends to be participatory in nature with a dense sound, buzzy texture, wide tuning, and cyclical/ repetitive form.
--It tends to be combined with dance to form unity between the sexes. |
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| The start of African Popular Music |
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European music taught to Africans in mission schools, Christian churches, and military bands.
Examples:
-Zimbabwe: mbira music w/ acoustic guitar (Mapfumo’s electric band).
-Mande: kora and kontingo w/ acoustic guitar (Super Rail Band). |
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| The 4 social groups of Latin America |
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Definition
1. Indigenous
2. Criollo (European type habits)
3. Mestizo (mix of habits)
4. African Heritage (brought over "Africanisms") |
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Peruvian panpipes (southern)
-It interlocks with another siku to go up and down the scale.
-Used in large groups during festivals. |
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| notched flute used in Southern Peru |
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| Types of drums and percussion used in Southern Peru. |
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-2nd most spoken indigenous Andean language.
--Their culture is Egalitarian, and has no hierarchy--every decision is made as a group (consensus).
--This shows in their music style because they perform only as a community.
--Participatory style (w/ density, high registers, and repetition);No solos. |
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| -She wanted to get back to her rural roots, and her music reflects this. It is a mix of indigenous and mestizo (in music and dress). She had vibrato and high-pitched whoops at end of phrases. |
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-Music of 2nd generation migrants
-Had a wayno melody with new modern rhythm (cumbia).
--Electric instruments w/ rock influences. |
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-Plucked, long-necked fretted lute
-Indian melody instrument |
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The intro section to a raga.
- It has no drum, shows the melody and is an intro to the most important notes to come in the raga. |
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2nd part of "main piece" in kriti performance structure
-made up of Pallavi, Anapallavi, and Caranam |
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-3rd part in "main piece" of kriti performance structure.
-it is an improvised new melodic setting for a particular line in the kriti (usually Caranam). |
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| 4th part of Kriti structure, and is an improvised melodic passage in solfege syllables. |
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| drum solo (and 5th part of kriti structure). |
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| short syllables associated with a pitch (in Indian music) |
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| The main drum in Karnatak music (Indian) |
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| a long-necked lute used to provide drone (Indian) |
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| A fretted South Indian melodic instrument w/ drone strings. |
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Women stereotypes
in South India |
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Definition
Women did more dance-related genres b/c they were associated w/ the "body".
-genres include Padam and Javali. |
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Men gender stereotypes
in South India |
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Definition
Men were associated w/ the "mind", so they do more improvisation and competitive roles.
-genre example is Ragam-Tanam. |
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| Indian Classical styles of music |
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Definition
--more learning by oral imitation
--made up of smaller ensembles w/ no harmony
-- more emphasis on Improv and creativity
--awareness of past traditions
--attended mainly by elites and the educated. |
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North India's major classical system
has more improvisation and includes Sitar, Table, and Tambura. |
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South Indian major classical system
-more fixed, it includes the vina, mridangam, and tambura. |
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South Indian, group devotional song.
-call and response btwn kids and adults
-more participatory and repetetive, denser texture |
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| African instrument normally made out of a gourd that serves as a resonating box, with vibrating metal or wooden strips attached for plucking. |
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| Ostinato riffs in a solo kora performance (African) |
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| Improvised solos (african) |
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| African musicians and oral historians. |
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People of African Heritage
on the plantation |
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Definition
| -African heritage people were the first people to pair banjo and fiddle together to play in U.S. |
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| a rhythmic type of style of playing a banjo where your thumb and hand curves and strums in a downward motion. Used by slaves first. |
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| A type of index; a sign affected by what it stands for. |
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| Participatory performance |
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Artistic practice where no audience-artist distinction is made.
The goal is to involve as many as possible of all skill levels. |
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| Presentational Performance |
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| Situation where artists prepare and provide music for an audience group, who do not participate in the music making. |
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| The making of recordings intended to be indexical or iconical of a live performance. |
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| The creation and manipulation of sounds in a studio or on a computer to create a recorded art object. "art for art's sake" |
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| Many signs occurring simultaneously |
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| A group of people that have a majority of preexisting habits in common that make up each individual member's self. ex: family |
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Cultural formations where they use money and try to save money instead of sharing with outer family.
--they might still believe in witchcraft before doctor though. |
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| Associated with religious ceremonies |
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| refers to panpipes, music and dance together. |
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| Common type of shaker in Africa |
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Jerusarema
(or Ngororombe) |
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| "Outside the house" ceremony, no spirit possession |
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--sang protest songs using metaphors
--hosho replaced by high hat symbols
--base part of mbira replaced by base guitar
--"neo-indigenous" music |
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| -highly patriarchical ociety |
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-- "outside the house" ceremony
--"field mouse"= mbende
--playful song where men have wooden clappers and women drive men back (inverted gender relationships) and participatory style |
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Women hosho players
--once spirit arrives, everyone dances
--drink beer and dance all night |
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Cosmopolitan vs Indigenous
African society |
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Definition
COSMO: monogamy, curency, Christian, presentational music styles
INDIGI: polygamy, lower class, witchcraft practiced, participatory music styles. |
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-a well-dressed presentational band in 1940s;
put on a variety of acts in township recreation halls for middle class.
-imitated Jarusarema(too much emphasis on hip thrust) |
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| -consist of Banjo, fiddle, and acoustic guitar |
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| first played together by african american slaves |
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| led banjo to move toward pop culture |
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| women dancers in India who became prostitutes after British changed things. |
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| "Say it Loud" vs "We Shall Overcome" |
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--Both are indexical of civil rights movement--
-"Say it Loud": lyrics, jazzy, horns, kids, and emphasis on differences
-"We shall Overcome": religious hymn during MLK time, and hope for peace and intregration |
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| all are different words for the African proto-banjo. |
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| An early commercial country music string band. |
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--credited by Bill Monroe
-adds Earl Scruggs to the band.
faster tempo, w/ jazz-like solos
-clearer sounding |
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an amazing Banjo player in Monroe's bluegrass band.
--came up with Scruggs's style of 3-finger picking of the banjo strings,
--gave banjo clearer sound. |
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| a time when middle class northerners got interested in string band music. |
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revivalist group, but less dense, more harmony, and more presentational.
--mocked rural southerners, but really from Hawaii. |
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| 2 most common languages in Peru. |
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| "earth mother" in indigenous areas who have relationship with earth. |
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| Society w/ no hierarchy. Everything is based on consensus, and noone holds too much power. |
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| "Andean saxaphone" in music for carnivals. |
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genre in Peru that is most commonly composed by Mestizos, and the defining feature is the rhythm.
-- it's the main couple's dance. |
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Andean Dance troup; Jungle music sang to virgin w/ narrative purpose.
--has unusual timbre |
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