World Music Dos

-kebyar: “to flare up”

-composed music

-for listening or to accompany dance

-small gamelan ensemble

-puppet show tells story from Ramayana

-produces shimmering (beats)

(not in unison nor as separate sounds, just beats)

-ex. gamelan gong kebyar’s shimmering quality

-a recurring sequence of strokes played on gongs of different size and pitch

-ex. Kecak

-processional ensemble

-“gamelan of walking warriors”

-warfare, rituals for dead, evil spirit battles

-“crowdedness”

-timekeeping: gong ageng/”great gong”

-elaborations: reyong/small and high pitched pots

-texture: kendang (drum), ceng ceng (cymbal)

-melody gongs

-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)

-gamelan suara or “voice gamelan”

-uses gamelan gong cycles, melodies, textures, but is chanted

-contemporary setting is dance drama

-uses interlocking/kilitan telu

-“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

-present in kreasi beleganjur

-choreographed movements

-reference to beleganjur symbols like cremation tower spinning

-Filmi git are Indian film songs

-largest film industry in world

-major component of contemporary music is bhangra

;

-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)

-Hindu devotional songs

-traditional associated with Bhakti Hinduism

-Sufi devotional music

-communion with divine

-lead singer plus ensemble of vocalists/instrumentalists

-melody, drone, rhythm

-singing is highest form of expression

-instrumental parallels vocals

-hindustani (international) versus Carnatic (singing more elevated)

-sitar, tambura, tabla

-guru (mentor), gharana

-gharana is “musical family”/school of raga (shared style/approach, similar to uncle/nephew)

-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

-most famous indian classical musician

-incredibly influential instrumentalist

-north indian

-sitar

-collaborations (west meets east)

-“keeping tal”, marking musical time

-complete and self-contained melodic system

*5 Features of Ragas*

1. identifying set of pitches

2. unique ornaments and patterns

3. rules and procedures for playing

4. repertoire or compositions

5. host of extramusical associations

-rhythmic framework

-metric cycle

-Sam is the first and last beat of cycle

-each has certain number/strength of beats

-theka, tintal

-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

-counting and drum syllables

-16 beat pattern

-Khali (O) is the empty beat, opposite of sam (X)

X . . . X . . . O . . . X . . .

-nonmetric, slow moving

-improvised

-each principal tone explored

-melodic range expands

-rhythms become more animated until pulse

-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”

John McLaughlin and Shakti

-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

;

-Tabla player

-Created own percussion kit

-Signature bucket of water for changing pitch and timbres

-Member of John McLaughlin Trio

-Fusion music

;

-6/7 strings, 13 sympathetic strings (vibrate in response)

-melody and drone

-chordophone

-movable frets

-slight parabolic bridge for javari

-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

-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

-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)

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)

1. complex polyphonic textures

2.layered ostinatos

3. conversational elements

4. improvisation

5.Timbral variety

6. distinctive pitch systems and scales