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-kebyar: “to flare up”
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-composed music
-for listening or to accompany dance
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-small gamelan ensemble
-puppet show tells story from Ramayana
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-produces shimmering (beats)
(not in unison nor as separate sounds, just beats)
-ex. gamelan gong kebyar’s shimmering quality
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-a recurring sequence of strokes played on gongs of different size and pitch
-ex. Kecak
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-processional ensemble
-“gamelan of walking warriors”
-warfare, rituals for dead, evil spirit battles
-“crowdedness”
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-timekeeping: gong ageng/”great gong”
-elaborations: reyong/small and high pitched pots
-texture: kendang (drum), ceng ceng (cymbal)
-melody gongs
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-rhythmic interlocking
-basis for great variety of different interlocking textures in Balinese music, some melodic and others purely rhythmic
-symbol of a Balinese cultural division of an integrated, interdependent community
-greater than sum of individual parts (all rhythms interlocked)
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-gamelan suara or “voice gamelan”
-uses gamelan gong cycles, melodies, textures, but is chanted
-contemporary setting is dance drama
-uses interlocking/kilitan telu
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-“creations”
-pageantry, costumes, and choreography
-varied texture between sections
-fast section, slow section, then fast section
-traditional beleganjur instrumentation/playing style
-gerak
-ex. 2-7 is neo-traditional
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-present in kreasi beleganjur
-choreographed movements
-reference to beleganjur symbols like cremation tower spinning
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-Filmi git are Indian film songs
-largest film industry in world
-major component of contemporary music is bhangra
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;
-originated as folk/harvest music in the Punjab region
-Dhol, flute, other instruments
-Women’s version is giddha
-Anakh Punjab Di
(2 sounds, bass and snare)
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-Hindu devotional songs
-traditional associated with Bhakti Hinduism
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-Sufi devotional music
-communion with divine
-lead singer plus ensemble of vocalists/instrumentalists
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-melody, drone, rhythm
-singing is highest form of expression
-instrumental parallels vocals
-hindustani (international) versus Carnatic (singing more elevated)
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-sitar, tambura, tabla
-guru (mentor), gharana
-gharana is “musical family”/school of raga (shared style/approach, similar to uncle/nephew)
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-vina (a plucked chordophone)
-South India
-status of singing more elevated relative to instrumentals
-distinct from Hindustani since 16th century
-less influence from Islamic cultures
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-most famous indian classical musician
-incredibly influential instrumentalist
-north indian
-sitar
-collaborations (west meets east)
-“keeping tal”, marking musical time
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-complete and self-contained melodic system
*5 Features of Ragas*
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identifying set of pitches
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unique ornaments and patterns
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rules and procedures for playing
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repertoire or compositions
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host of extramusical associations
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-rhythmic framework
-metric cycle
-Sam is the first and last beat of cycle
-each has certain number/strength of beats
-theka, tintal
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-Skeletal drum pattern outlining tala cycle
-may be outlined with bols, or spoken syllables of tabla sounds
-drummer improvises, often finishing with tihai, a rhythmic cadence repeated 3x
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-counting and drum syllables
-16 beat pattern
-Khali (O) is the empty beat, opposite of sam (X)
X . . . X . . . O . . . X . . .
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-nonmetric, slow moving
-improvised
-each principal tone explored
-melodic range expands
-rhythms become more animated until pulse
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-tabla enters
-metric
-improvised and composed sections (in raga) that become longer
-musical dialogue
-gradual increase in tempo
-goal of Nada Brahma, “the Sound of God”
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John McLaughlin and Shakti
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-converted to Hinduism
-studied with Shankar, played w/ Miles Davis
-used his own modified guitar
-Shakti (“creative intelligence, beauty, and power”)
-Indian musicians, including Ravi Shankar’s nephew (Zakir Hussain, tabla)
-Hindustani and Carnatic musicians
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-Tabla player
-Created own percussion kit
-Signature bucket of water for changing pitch and timbres
-Member of John McLaughlin Trio
-Fusion music
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-6/7 strings, 13 sympathetic strings (vibrate in response)
-melody and drone
-chordophone
-movable frets
-slight parabolic bridge for javari
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-drone
-4/5 strings played open in regular patterns
-gourd resonator (wood in south)
-fundamental pitches of raga, vadi (tonic)
-Jivari bridge and jiva threads (gives soul or life)
-comes in different sizes to accompany males, females, sitars
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-membranophone(s) w/ goatskin heads
-black spots in middle (different timbres in same drum)
-tunable (all in tune with one another)
-produces many sounds
-virtuosic
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-regional folk music styles
-symbolic of national identity
-most commercially successful traditional music of europe
-traditional (irish fiddle solo), neo (ensemble of acoustic instruments), post (rock influenced)
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Five categories of traditional |
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1. sean nos (sung in Gaelic,;prominent melodic ornamentation,;distinctive rhythmic phrasing,;emotion,;nature poetry, love songs, and religious mysticism)
2. airs (slow instrumental melodies often performed in free rhythm)
3. sung in English
4. irish harp (often diatonic)
5.;instrumental dance tunes and medleys (most popular type of music)
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A musical form in which two or more pieces are performed one after another without pause |
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commonly used dance rhythm in Irish music |
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commonly used dance rhythm in Irish music, duple time, DAH – da |
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The most commonly used Irish dance rhythm, duple time, DAH da da da, more even sounding than hornpipe. |
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decoration, or adornment, of the main notes of a melody by additional notes and ornaments. ;5 common ornaments in Irish music = roll, cran, triplet, cut, and treble |
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Irish Traditional Instruments |
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fiddle, tinwhistle, Irish flute |
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Irish handheld frame drum with a goat skin head. |
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Irish traditional instrument, like a bagpipe, regarded as most distinct Irish music instrument. ;Produces a drone (3), chanter makes melody, 3 regulators are for chords. ;Bellows under elbow. |
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One of the greatest Uillean Pipers, learned from father, folk music collector, mobile unit of Radio Eireann, worked for BBC, part of the 1960’s Irish music revival. |
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Irish neotraditional music |
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ensembles, chords, multiple melodies, alternating solos, formalization of music. For listening, not dancing |
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not for dancing, more common, informal, musicians gather to play |
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rock influences, Eileen Ivers, taking Irish music and blending it with other types, crossing borders, |
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neotraditional Irish music, fronted by Paddy Maloney, boundary blurring and collaborations. Widely influential and internationally renowned. |
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post 1970’s, flagbearers for traditional Irish music scene. ;Also neotraditonal |
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featured fiddler in Riverdance, post traditional, very famous and talented |
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1. complex polyphonic textures
2.layered ostinatos
3. conversational elements
4. improvisation
5.Timbral variety
6. distinctive pitch systems and scales
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drum ensemble for chief processions and empowerment. Consists of from, atumpan, eguankoba, and gongon |
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largest drum for Africa chapter |
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drum always held in stand in africa |
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supporting drum, for call and response (africa) |
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iron bell, time keeper (africa) |
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mande people, men (jeli) and women (jelimuso). ;hereditary class, professional musicians. ;Kouyate, Diabete, Sissoko are some of the families |
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instrument like a xylophone. ;idiophone, 3 octaves, 17-21 wooden keys, calabash (gourd) resonators, buzzing, ostinato, melody, and hocketing. |
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banjo-like plucked chordophone, fretless, string number varies, possible ancestor of banjo. |
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a harp lute, 21 string chordophone, calabash resonator, nylon fishing line, international symbol for West Africa, Mande people, played sitting or standing |
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speech-like singing style |
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kora master, jeli, member of royal lineage so a person of controversy for playing music |
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American blues guitarist, loved the kora, made an album with jeli masters |
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pop artist with strong ties to West African music and culture. ;From Benin, sings in Fon. |
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