|
leading performer of classical Uzbek music |
|
|
Hire a custom writer who has experience. It's time for you to submit amazing papers!
order now
national eastern dance that Munojaat performs
|
|
|
Uzbek musician, strongly identified with Uzbek nationalism and could play all instruments in an ensemble
|
|
|
Uzbek singer, songwriter, and musician. Incorporates Uzbek folk and contemporary music
|
|
Hector Zazou/Real World Records
|
|
Producer who produced Sevara Nazarkhan and the record label he produced her music on.
|
|
|
famous song by Sevara Nazarkham
|
|
|
lead acoustician in folk orchestra, founded the conservator
|
|
|
medium sized frame drum with jingles from Uzbekistan |
|
|
long neck two stringed lute from Uzbekistan |
|
|
long necked fretted lute from Uzbekistan |
|
|
short necked lute from Uzbekistan
|
|
|
bow fiddle, nasal timbre from Uzbekistan
|
|
|
practice of collecting monophonic tunes from rural communities, codifying and harmonizing them for polyphonic performance by large ensembles
|
|
|
popular music in Uzbekistan, combo of national instruments and synthesized sounds
|
|
|
the system of rhythmic modes that provide the rhythmic foundation for Uzbek classical music |
|
|
in five pitches, music in heterophony, complex meter (think Clocks by Coldplay) |
|
|
pitch bending ornaments on voice or instrument that are often microtonal and are considered highly expressive |
|
|
the climactic point in a piece of classical Uzbek music like the Shashmaqom |
|
|
set repertoire of Uzbek classical music. It is traditionally played heterophonically and includes both instrumental and vocal sections |
|
|
called out by the muezzin in the mosque five times a day, traditionally from a minaret, summoning Muslims for mandatory prayers |
|
|
the person appointed at a mosque to lead, and recite, the call to prayer for every event of prayer and worship in the mosque |
|
|
|
|
|
|
system of melodic modes (which collection of pitches you are going to use) common in Arabic and Turkish tradition |
|
|
Persian mode or system of rules and expectations for composition and improvisation |
|
|
Iranian mode or system of rules and expectation for composition and improvisation |
|
|
“martyr square” in downtown Cairo, Egypt |
|
|
“the time or the place of the sunset” |
|
|
“the time or the place of the sunrise- the east” |
|
|
Arabic music ensemble including zithers, bowed and plucked lutes, drums & aerophones |
|
|
a bigger version of Takht |
|
|
the Arabic name for “belly dance” |
|
|
Arabic word for the state of emotional transformation or ecstasy achieved through music |
|
|
Sufi ritual which believers chant name of Allah with goal of entering ecstatic state |
|
|
fretless, plucked pear shaped lute that is found in Arabic music traditions |
|
|
|
|
plucked zither, chordophone from the Middle East
|
|
|
hammered zither from the Middle East |
|
|
long necked lute of Iran, similar to the dutar from the Middle East |
|
|
standing drum, membranophone from the Middle East |
|
|
round-bodied lute, chordophone, from Turkey (Middle East) |
|
|
an instrumental improvisational form in Turkish/Arabic music traditions |
|
|
famous poem written in Persian by Rumi |
|
Jalal al-din Muhammad Rumi |
|
|
|
internationally famous Egyptian singer, songwriter, and film actress of the 1930’s-1970’s
|
|
|
spiritual head of Tibetan Buddhism |
|
|
Tibetan singer/songwriter |
|
“Incantation” and “Mani” Om mani padme hum (Om mani peme hung) |
|
|
|
thigh bone trumpet from Tibet |
|
|
aerophone, long metal trumpets with low tunes
|
|
|
conch shell trumpets from Tibet
|
|
|
|
|
double reed aerophone from Tibet
|
|
|
|
|
12 different pitch collections in the Xinjiang region of China
|
|
|
traditional long neck two stringed lute from Xingjiang |
|
|
|
|
10 year period in China’s history that consisted of great political change and revolution |
|
|
Chinese organological system based on eight materials |
|
|
“silk and bamboo” Chinese ensemble consisting of stringed instruments and aerophones |
|
|
tea house music associated with Shanghai |
|
|
bridgeless plucked zither with 7 strings from China |
|
|
notation that indicated how to plug string |
|
|
|
|
|
Yangbanxi/model revolutionary opera |
|
Beijing operas infused with communist and nationalist political messages
|
|
|
|
|
|
|
A hammered zither from China |
|
|
a pear-shaped lute from China |
|
|
|
|
the lead fiddle of the Beijing Opera’s instrumental ensemble |
|
|
a double reed aerophone from China, military instrument |
|
|
a transverse flute from China
|
|
|
Korean ritual music performed by a shaman
|
|
|
|
|
narrative vocal performance style from Korea
|
|
|
double reed aerophone from Korea |
|
|
slim waist drum, membranophone from Korea |
|
|
the warrior role-type in the Beijing Opera from China |
|
|
small flat gong usually used in Korean folk music |
|
|
plucked stringed instrument from North India |
|
|
chordophone from North India |
|
|
Two drums with metal circle in the middle from North India |
|
|
long necked plucked lute, chorodophone from North India |
|
|
free reed aerophone similar to an accordion from North India
|
|
|
plucked musical instrument from South India, played horizontally
|
|
|
chordophone, played in a seated position with instrument balanced on foot from South India
|
|
|
electronic instrument that emits constant drones (electronophone) from South India
|
|
|
large drum, wooden dowels to adjust pitch from South India
|
|
|
barrel shaped drum from South India |
|
|
format of a musical composition typical to Carnatic music, a South Indian classical music style
|
|
|
a form of melodic improvisation that introduces and develops a raga
|
|
|
|
|
the greatest composer of Carnatic music
|
|
|
a 1969 Bollywood film directed by Shakti Samanta
|
|
|
the cultural traditions of Northern India
|
|
|
classical music of Southern India
|
|
|
popular music taken from films in India
|
|
|
famous filmi singer from India
|
|
|
an informal name for India’s film industry derived from a combination of the words “Bombay” and “Hollywood”
|
|
|
melodic mode found in South India
|
|
|
meter of South Indian classical music
|
|
|
mnemonic syllables corresponding to drum stroked in Indian drumming traditions
|
|
|
|
|
mnemonic syllables corresponding to individual pitches in a scale
|
|
|
solfege syllables (nmeotic device) used for pitches in South Asia (Sa Ra Ga Ma Pa Da Ni Sa)
|
|
|
the opening, freely rhythmic period of improvisation of raga performance in Indian classical music
|
|
|
refers to a set of drone strings on Indian chordophones. Also a reference to the climactic end of the alap section of raga performance in India
|
|
|
a regularizing of the beat in the opening section of raga performance in Indian classical music
|
|
|
the composed section of instrumental performance in South Indian classical music
|
|
|
the mood or sentiment of an artistic expression in India
|
|
|
Indian musician and composer who played the sitar |
|
|
any type of devotional song (South India)
|
|