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| Turino's characteristics of African Music |
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| Interlocking, Call-and-response, cyclical and open-ended patterns, community participation, rhythmic complexity, core and elaboration parts |
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| fitting your pitches and beats inter spaces of other parts |
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| alternation of the leader and chorus parts or instrument and vocal parts |
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| Cyclical and open-ended patterns |
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| often involving ostinatos, a lot of repetition |
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| juxtaposition, duple or triple rhythmic patterns, layering |
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| needed for the song to go forward |
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| "artsy" detailed pieces added |
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| Shahada (profession of faith), Salah (prayers), Zalah (giving of alms), saum (fasting during Ramadam), Hajj (pilgrimage to Mecca) |
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| fusing/combining different beliefs or religions |
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| devotional act by repetition of the names of Gods (all 99) |
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| 400 yd river in Mozambique and Zimbabwe that often floods. |
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| praise singers (its hereditary, tradition passed down through families) |
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| Normal people (farmers, merchants, aristocrats) |
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| People who have specialized jobs (blacksmiths, musicians) |
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| layered ostinato based style on the kora with accompany singing |
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| soloistic style of instrumental performance used on instruments like the kora, bala, and koni in Mande jeliya music |
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| "call to dance," singing songs that are usually short and often have 2 main phrases |
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| Improvisatory, partially speechlike style of singing in jeliya vocal art |
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| harp-like chordophone of the Mande peoples |
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| banjo-like plucked chordophone instrument of the jeli |
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| wooden keyed percussion idiophone, played by striking the keys with 2 padded sticks |
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| Bantu speaking people of Zimbabwe |
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| inner melodic lines from the combination of thumb and forefinger, not a change in whats being played |
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| ceremony where the spirit comes to the community through a medium in times of trouble, good mbira playing is essential for success |
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| inner, mystical version of Islam that practices Dhikrr and meditation |
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| Muhammad's meuzzin (first in Islamic faith), known for his beautiful voice with which he called people to their prayers |
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| ethnic/religious group in Morocco that held healing ceremonies |
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| enactment of the principles of the universe (performed at night) |
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| a man known for his sexual escapades, has intimate relationships with all the women who are possessed |
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| set of 4 cymbal (2 on each hand) |
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| inhibited (possessed) people |
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| abstract entities that gather lots of jinn, evoked by 7 musical patters, 7 melodic and rhythmic cells, 7 different types of incents are burned and dancers wear 7 different colors |
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| band based on Gnawa tradition with some reggae and roots |
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| band that wrote about social/political climate and arranged music into Morrocan tradition |
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| Zimbabwe African National Liberation Army |
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| African musician who composed songs about the liberation of Mali and when it happen he was looked at as a hero for his influence |
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| ZANU commited to Maoist principles |
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| ZANU leader who was elected to run the ANC |
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| Jeliya dedicated pieced of music to this ruler (child unable to walk, to exiled warrior, to king) |
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| processional emsemble that marches while performing considting of multiple gongs, drums and cymbals |
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| Paired tuning between sets of instruments |
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| blending different pitches to create an acoustic beating effect |
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| men chant kilitan telu patterns surounding an oil lamp, spirits are summoned, dance-drama is an episode of the Ramayana |
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| gods and venerated ancestors reside in the heavens (Brahma-creator, Wisnu-preserver), Siwa-destroyer) |
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| where land meets sea and below, evil spirits (bhutas and leyaks which are a threat to mankind) |
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| famouns sitarist who spread Indian music into popular music |
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| set of pitches consisting of 7 ascending pitches, different ragas are linked to different states of mind, seasons time of the day etc |
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| N. India, greater influence on Islamic cultures, international exposure, sitar, tambura, tabla |
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| status of singing is more elevated relative to instrumental music, vina, tambura, mrdangam |
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| system of social organization linking musician/dancers by lineage and by music style |
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| plucked chordophone, lead melodic instrument in Hindustani Raga |
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| plucked chordophone, drone-providing instrument in Hindustani Raga |
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| pair of drums, rhythmic accompaniment in Hindustani Raga |
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| basic structure of the tala achieved through a skeletal drum pattern |
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| slow, abstract movement in opening section, no drumming, no meter, no set compositions |
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| when a rhythmic pulse is introduced in an alap (still no meter) |
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| second main section when instruments are introduced (gradual, successsive patterns become longer and more complex, different formal sections combine) |
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