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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).
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-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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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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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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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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–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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-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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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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