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| – Mohamed – Muslims follow him; use the Koran
Countries: Turkey, Iran & Egypt
Know: The Koran & Judaism |
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– West Asia & North Africa
– Islam, Christianity, Judaism
– Ancient Civilizations
– Influence on Europe
– Arabic, Turkish, Persian |
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– Crossroads between Europe and Asia
– “Istanbul”, not “Constantinople” (ottoman empire)
– European effect (should be European or Asian) |
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| TURKEY: Islamic “Call to Prayer” (Adhan) |
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1st Impression:
– Heightened speech (between speaking and singing)
– Respectful
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Aural Analysis:
– Melismatic (decorated, lots of notes) male voice
– “Allah” – god is great |
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| TURKEY: Cultural Considerations |
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– Muhammed – god
– Koran – holy book
– Muslim – surrender to God; practice Islam
– Mosque – holy place (Mirab nitch in Ka’ba; facing Mecca or wall)
– “Blue Mosque” – no depictions/pictures of god |
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– Koranic chant
– Pilgrimage chants (Hajj) – expected to do/face Mecca if practicing Islam
– Eulogy chants & chanted poetry |
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| ISLAMIC: 3 Main Branches of Islam |
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1. Sunni – more moderate Muslims
2. Shlahn – more rules (strict)
3. Sufi – mystical branch of Islam (music is essential) |
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– Family & celebratory
– Occupational Music (cararan, shepherd, merchant)
– Military music (preceded by a band) |
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| ISLAMIC: Cultural Considerations |
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– Islamic attitudes towards music:
Legitimate – music for worship or function
Controversial – “art or entertainment”
Illegitimate – sensual music
Haram
belly dancing
American pop music |
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| ISLAMIC: Arabic Modal Improvisation |
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1st Impressions:
– Dreamy & improvised
Aural Analysis:
– Arud (fretless; pear-shaped)
– Buzg (cordophone; has frets & adjustable)
– Makam – “composition kit” – info on how to play
– Oral tradition
– Free rhythm
– 24 pitches to an octave
– Take turns playing |
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– Largely mountainous
– Persian, not Arabic
– Predominantly Shi’a Muslim (more strict)
– Theocracy since 1979 (combines religion and democracy) |
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| IRAN: Dastagh – Santur & Voice |
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1st Impressions:
– Melancholy Melisma
Aural Analysis:
– Santur (trapezoid sither, played w/ 2 hammers)
– Dastgan (whole composition)
– Gushen – based on mood
– Radif – composition books
– Formally taught in schools |
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| IRAN: Cultural Considerations |
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– Schools of Dastagh
– Non – meter over meter (don’t waant to be confined to a steady beat)
– Classical underground |
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– Pyramids & Pharaohs
– Suez canal 1869 (opened up trade & travel)
– Modern era |
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| EGYPT: Arabic Takht Ensemble |
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1st Impressions:
– Belly dance music
Aural Analysis:
-Takht
Melody: Ud (zither), Kemanja (fiddle), Kanun (zither; plucked), Ney (flute)
Rhythm: Riqq (tamborine), Duff (framed drum), Tabala (goblet shaped hand drum)
– Bashraf – form of composition
– Iqa-at – rhythmic bows |
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| EGYPT: Cultural Considerations |
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– “Belly dance”
– Music evokes emotion
– Tarab – idea that there’s supposed to be a merger between you & the music |
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– Mystical branch of Islam
– Noted for their woolem (suf) ropes
– Most common in Turkey
– Monasteries & Dervish (begger) |
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| SUFISM: Suf Dhikr Ceremony |
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1st Impressions:
– “spinning top” vocal swirl
– Vocal cry over hearty chant
Aural Analysis:
– Ney & “takht” instruments
– Unison singing w/ shifting tonal center followed by:
– Melismatic chant in free rhythm
– Deep, raspy, “Allah” chant
– Ilani |
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| SUFISM: Cultural Considerations |
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– Dhkir – “remembrance”
– Music as a “spiritual leader”
– Spiritual ecstasy
– Oneness with Allah (god)
– Whirling dervish (begger) |
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– Isreal (holy land)
– The diaspora (any person who goes to another culture)
– Sephardic – Ashkenazi (Jewish populations from Europe) |
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| JUDAISM: Jewish Cantillation |
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1st Impressions:
– Sung recitation
Aural Analysis:
– Cantor – good singer
– “Speech” rhythm
– Melodic formulas
– Changed the word “god” |
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| JUDAISM: Cultural Considerations |
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– Toran (1st parts of the bible)
– Synagogue
– Shofar (blow it to mark division in the service) |
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– Farming is a primary occupation
– Cultural zones
– Pan Arabic/Sahel/Sub-Saharan Africa
– Nearly 3,000 separate ethnic groups
– Roughly 1,800 spoke languages
– European languages common
– Modern Politics |
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| AFRICA: Shared African Beliefs |
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– Community is social focus
– “I am, because we are.” (“Umbuntu”)
– How everyone works together
– Community includes living & ancestors
– Animism prevalent
– Music is a part of life |
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| AFRICA: African Music Principles |
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– Oral tradition
– Focus on group over individual
– Poly-rhythm – many rhythms, interlocking rhythmic layers
– Call and response
– Dance |
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| AFRICA: Video (Ghana) – Sound of Silence |
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– Kneeding dough – listening to silence, just like music
– Druming & dancing
– Week long funeral
– Carpeter drums |
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– West Africa; most familiar to outsiders
– Kente cloth – long weaved piece of clothing, each square has meaning
– The group “Asante” were well known for making/using cloth
– Akan & other indigenous languages (largest ethnic group) |
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| GHANA: Polyrhythmic Ensemble |
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1st Impressions:
– Rhythmic kaleidoscope (Bell = steady*)
Aural Analysis:
– Drums, rattles, and bells
– Call and response
– Polyrhythm |
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– Overall sound is rhythmically dense
– “Simple” individual patterns
– complex combined whole
1. Timeline patterns
– Referred to as “density referent”
2. Support drums |
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| GHANA: Cultural Considerations (Polyrhythmic ensemble) |
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– Recreational bands
– Formal & Informal contexts
3. Master drummers |
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1st Impression:
– Mimicking drum
Aural Analysis:
– Surrogate speech
– Tonal contour of language
– Speech rhythm
– Hi/lo drums or one drum with multiple tones |
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| GHANA: Cultural Considerations (Talking Drums) |
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– Drums give words more power
– Praise drumming
– “Proverb” performance |
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| CENTRAL AFRICA: Democratic Republic of the Congo |
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– Rainforests of Central Africa
– Unknown pygmy population
– Nomadic egalitarian societies
– No “leader” |
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1st Imressions:
– Interweaving “Hoots & Hollers”
Aural Analysis:
– Vocal polyrhythm
– Minimal percussion
– Call & response (since there is no leader) |
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| CENTRAL AFRICA: Cultural Considerations |
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– Community participation
– Portable instruments
– Animistic beliefs |
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– Victoria Falls
– Former British colony
– Shona ethnic group |
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| ZIMBABWE: Mbira Dza Vadzimu (instrument) |
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1st Impressions:
– Polyrhythmic music box
Aural Analysis:
– Mbira (dza vadzimu) – lamellophone
– 2 Parts:
1. Left: Kushaura
2. Right: Kutsinhira
– Hosho & Voice (morraca like instrument)
– *Not call & response |
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| ZIMBABWE: Cultural Considerations |
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– “Called” to play mbira
– Music is protected property
– Bira – Spirit possession ceremony |
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– Western/Eastern Europe
Language often indicates cultural background
– Jewish & Romani ethnic groups |
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| EUROPE: Classical vs. Folk |
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– Pan – European Music “classical”
– The “court” connection
– The “church” connection |
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– Essence of cultural identity
– Arabic influence |
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– Emphasis on polyphony (harmony)
– Large ensembles are common
– Instruments often capable of polyphony
– Steady meter |
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– Classical culture
– Alexander the Great
– Ottoman/Turkish rule
– Modern Greece |
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– Country: Greece
– Instrument: Vocal
1st Impressions:
– Ethereal chant over drone
Aural Analysis:
– Male voice
– Liturgical Chant
– Echoi(“mode)*
– Tonal harmony*
– NOT call & response
– Listen for drone |
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| GREECE: Cultural Considerations |
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– Greek orthodox church*
– Monatic republic of Athos* (not outside influence)
– “Ancient” chant |
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– Andalusia (where flamenco developed)
– Arabic influence
– Gypsy cultural influence*
– Catholicism & colonialism
– “Old world” sensibility |
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– Instruments:
– Virtuosic guitar
– Melismatic* cantaoras with “strained” timbre
– Interlocking palmas (hand claps)*
1st Impressions:
– Passionate vocals
– Enthusiastic onlookers & energetic dancers |
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| SPAIN: Cultural Considerations |
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– Duende – “passion”*
– Cante – Andalusian origin
– “Gypsy” influence* (from India)
– Musical adaption |
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– The Danube
– Eastern or Western Europe
– Nazis & Cold War |
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| – Instruments: Hurdy Gurdy (cordophone)
1st Impressions:
– “Buzzing” bagpipe
Aural Analysis:
– “Cranked” cordophone
-“Buzz” drone sounds rhythm
– Parlando – rubato (style of hurdy gurdy) |
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| HUNGARY: Cultural Considerations |
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– Bela Bartok, famous composer
– The Rom “Gypsies”
– Cimbalom – Hungary’s national instrument |
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– Not a country, part of the UK
– Highlands and lowlands culture
– “Nessie” & St. Andrews (tourist attractions) |
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1st Impressions:
– Strident tones with constant drone
Aural Analysis:
– Airbag, drones, chanter
– Blowpipe (lung driven) |
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| SCOTLAND: Cultural Considerations |
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– Symbol of Scottish identity
– Military music
– Often accompanied by marching drums
– The Lone Piper
– Outside of Scotland
– Used to accompany dance |
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– The emerald Isle & Celtic culture
– The Great Famine
– The republic of Ireland & Northern Ireland |
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1st Impressions:
– Mellow melody
– “Chords” & drone
Aural Analysis:
– Uillean pipes – bellows (pump to make noise) driven
– No blow pipe
– Regulators (keys)
– Dance Tunes |
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| IRELAND: Cultural Considerations |
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– Pubs & Sessions
– Ceili bands
– Bodhran, button boxes (according)
– Fiddles and flutes
– Bagpipes and “spoons” etc |
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– Crossroads of Europe & Asia
– The Ottomans
– Communist control |
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1st Impressions:
– Unsettling harmonies
Aural Analysis:
– All female choir
– Bellowing & crying out
– “Ring like a bell” |
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| BULGARIA: Cultural Considerations |
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– Ottoman influence
– Peasant music
– Les Hystere des voix Bulgares |
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– Center of learning
– Scholars came from all over the world
– Embraced Aristotle & Plato
– Translated from Greek writings |
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– Entered Jerusalem – Huge massacre
– Wanted holy city
– Baghdad – the best people go there (scholars)
– Aljoquin (madman) – entered Jerusalem unexpectedly |
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