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| Refrain/middle Section of a Kriti (Carnatic) |
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| Famous Kriti Composer (1800’s) |
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| A Kriti meaning “Use Me God” composed by Tyagaraja |
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| 5 notes in an octave “Banturiti” |
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| Opening movement in Kriti usually shorter than Raga’s |
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| A type of Japanese Hogaku (Genre of Music) |
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| Name the styles of Noh music |
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| God, Warrior, wig, misc, and ending plays |
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| What religion inspires Noh? |
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| Buddism, the idea of seperation, enlightenment. |
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| Dances w/ Utai and hayashi(instruments) (singing) |
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| A specific type of dance in Noh performed by guest speaker |
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| Sounds that come from the drummer to denote the rthym |
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| Rests or silences in music |
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| Person on the side (Priest) |
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| Changes the props and costumes |
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| Where shite goes into and the spirit embodies him |
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| Dynamic singing (No tone or pitch) |
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| When do Taiko drums come in? |
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| When a demon or mad woman steps on the stage. |
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| Internal clicker for the percussion of Noh |
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| Emporer’s lover in Hagoromo |
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| Emporer’s lover in Hagoromo |
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| Hogaku from 16th and 17th century (as opposed to Noh 14th and 15th) |
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| Narrative songs from Kabuki |
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| Name instruments that are the same in Noh and Kabuki |
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| Shamisen, koto, nokan, taiko, bell |
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| a stringed instrument cannot play a sustained note, so therefore has to keep strumming on key. |
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| Major/minor (Sharps/flats) |
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| Musical notes in linear succession |
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| Rhythmic aspects, tempo, acceleration, accents |
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| Rhythmic, harmonic, melodic combination |
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