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| a flattened-third scale step commonly used in the blues |
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| a rhythmic effect that provides an unexpected accent, often by temporarily unsettling the meter through a change in the established pattern of stressed and unstressed beats |
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| musical style that originated in New Orleans, |
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| jazz musician famous for his trumpet playing and singing |
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Jubilee Singers of
Fisk University |
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| African American a capella ensemble |
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| ragtime composer and pianist |
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| “night dance”, large popular music event in Vietnamese diasporas |
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| a Vietnamese zither with a pitch-bending bar |
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| a vietnamese sixteen-stringed zither |
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| Vietnamese music style that combines Western instruments and Vietnamese lyrics |
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| Vietnamese composer p 202 |
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| a group of songs that are composed as a set, sometimes because they have texts by the same poet or are connected in some other way |
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| a melody that contrasts with a main melody, or tune, played at the same time |
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| a type of ballad, usually strophic, that commemorates important events and memorable individuals in Mexican and Mexican-American History |
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| subject of a hero corrido, shot a sheriff in Texas, later aquitted |
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| corridos that portray a larger-than-life figure, ex. Gregorio Cortez |
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| drug ballad, compared to African-American gangsta rap, popular in border areas |
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| type of corrido that focuses on social and economic hardships experienced during Carlos Salinas de Gotari’s term as president of Mexico |
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| band with 5-14 instruments including cornets or trumpets, trombones, violin, percussion, and saxophone, with vibrato, loud volume and polyphony |
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| crowd that follows behind the band during a jazz funeral as they process through the stretts |
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| played sheet music outside of music stores to advertise new songs |
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| an instrumental lament played at a slow tempo |
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| hymns sung by Middle Eastern Jews, featuring sacred Hebrew texts set to popular Arab melodies |
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| a song in which new text is set to a borrowed or preexisting melody |
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| section of four pitches in the maqam. Each maqam has two. |
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| in Arab vocal music, an improvisation that indroduces a song and establishes the maqam used in the rest of the piece |
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| a Sabbath-afternoon songfest of unaccompanied pizmonim held among Syrian Jews in North America to celebrate a special occasion |
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| a party held among Syrian Jews and other peoples of Middle Eastern descent, to celebrate a special occasion such as an anniversary, usually featuring a professional vocalist who sings popular Arabic songs with accompaniment |
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| a classical Arab vocal form marked by a regular rhythm and rhyme scheme and a tree-part form |
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| a maqam that resembles the Western major mode |
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| An electromechanical instrument derived from the guitar, usually placed flat when played, whose characteristic sounds include a pronounced vibrato, slides, and “palm harmonics”or “chimes |
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| Hawaiian family that toured the world performing Hawaiin music |
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| impresario who managed the Tao Moe family |
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| a manager of performers or a director of a concert series |
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| a small, four-stringed Hawaiian chordophone that became popular in the twentieth century |
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| project created by Yo Yo Ma to explore the music of the various countries along the silk road |
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| musical collective that is part of the silk road project |
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| American composer and cello player who organized the Silk Road project |
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| pipa player, part of Silk Road Ensemble |
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| a free aerophone with reeds that are hidden within two rectangular headboards that are connected by a folding bellows, with keys or buttons to play a melody and chords |
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| a button accordion associated with the tango |
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| ensemple that accompanies the tango, usually consisting of a piano, violin, and bandoneon |
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| long-short rhythmic pattern in tango, derived from a Cuban rhythm |
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| a type of urban gaucho reputed to be both Don Juan and pimp |
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| outskirts of Buenos Aires where tango originated |
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| the Argentinian word for cowboy |
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an
Argentinian-derived style of song and dance |
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| type of tango that is more classic |
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| type of tango that focuses on close dance style |
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| type of tango that is more laid back, usually for an ensemble |
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| tango composer who created new tango which included classical and jazz influences, intended for concert hall |
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| singer most responsible for internationalization of the tango |
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| social dance event named after an Argentine dance that was a predecessor of the tango |
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| South Indian group dance by men, from Punjab region |
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| North Indian dance incorporating narrative and abstract |
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| a double-headed South Asian membranophone associated with bhangra |
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| a dance performed by Punjabi women that is equivalent to the male bhangra |
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| instrument used in bhangra |
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| idiophone used in bhangra |
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| single-pitch string instrument used in bhangra |
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| area between India and Pakistan, where bhangra originated |
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| a fast dance in duple meter that has become identified with Polish peoples, although it originated in Bohemia |
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| a distinctive style of accordion music, popular among Mexican-Americans, whose ensemble includes an accordion, a guitar, bass, and percussion |
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| hidden messages in the lyrics, metaphorical or coded |
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| open musical displays that perpetuate an existing power structure |
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| South African Dutch dialect |
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| segregation in South Africa |
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| a style of urban Jamaican popular music that originated among the Rastafarians of Jamaica in the 1960’s |
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| a.k.a. Haile Selasie, Ethiopian regent |
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| religion movement from Jamaica which venerate Ras Tafari |
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| predecessor of reggae, based on an indigenous Jamaican rhytym that emphasized off-beats in a quadruple rhythmic pattern |
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| developed after ska, with a much slower tempo, drum and bass line, and texts of freedom and equality |
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| most famous Reggae performer |
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| one of the performers who helped develop reggae, created protest music |
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| Native American social gatherings that feature ceremonies, celebrations, and dance competitions |
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| a series of drumbeats that clue the important sound of the drum |
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| performed during powwow that takes place of national anthem |
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| a Native American dance performed by men |
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| Native American dance with hoops representing the circle of life |
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| a vocal sound of joy or celebration commonly produced by women in Africa and the Middle East |
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| section of the orchestra that contains the trumpet, tuba, trombone, etc |
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| section of the orchestra that contains the snare, timpani, bass drum and harp |
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| section of the orchestra that contains the violin, viola, cello, and double bass |
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| section of the orchestra that contains the clarinet, oboe, flute, and bassoon |
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| an end-blown Middle Eastern flute whose sound has a breathy quality |
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| composer of the flute concerto,Iranian/persian living in the u.s. |
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| traditional Persian musical system consisting of a number of categories of melody that are distinguished by pitch content, melodic contours, and ornamentation |
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| song: combines western and persian style, written by Reza Vali |
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| hourglass-shaped Middle Eastern drum used in Reza Vali’s concerto for flute and orchestra |
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| large Middle Eastern frame drum |
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| Persian music for the ney by hassan kassayi |
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| mode used in folk music which has a somber sound and is often played by the ney |
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| A Thousand Miles from Home |
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| song: Vietnamese chamber music, Perfume River traditional Ensemble, pentatonic mode w/ three main pitches, section in free rhythm and section in fixed rhythm, vibrato and sliding between pitches |
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| song: Vietnamese lullaby played on dan bau |
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| song: Pham Duy composed, verse refrain, slow free rhythm, lullaby, pentatonic scale, vocables |
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| Endless Road, National Road |
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| song: Vietnamese song cycle |
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| song: mexican american hero corrido |
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| song: dirge played in jazz funeral |
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| song: Syrian Jewish pizmon |
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| song: Arabic song used in a film and later adapted for a pizmon |
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| song: aka High Little Moon |
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| song: folk song performed by Silk Road Ensemble, pentatonic scale, western and eastern instruments are used |
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| Aao Nachiye “Come Let’s Dance” |
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| song: Sangeet Group and Anoop Cheema, two main sections contrasting in performance style and melody, instrumental intro and conclusion, four beat units, call and response, unison, and heterophony, song and shouts, off beat accents and syncopation, traditional instruments like dhol, dholaki and chimta |
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| song: Valeria Longoria, composed by Vejvoda, strphic w/ duple meter, performed by conjunto |
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| song: Matos Rodriguez, orquestra tipica, tango-romanza, quadruple meter, minor mode |
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| La Cumparsita-Carlos Gardel |
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| song: modified verse/refrain form, minor, pessimistic lyrics, syncopation, dramatic changes in tempo |
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| song: Piazzola, double three part structure, tempo varies, mainly in minor mode but starts in major mode, combines tango, concert music and jazz |
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| st pauls church choir in South Africa, song: strophic with verse and refrain, major mode, quadruple meter, hymn then national anthem, several languages in words, western harmony, call and response and vocal slides, parallel bass and soprano |
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| song: Peter Tosh, strophic w/ refrain, minor mode, quadruple meter, electric guitars, organ, rastafarian references in opposition to christian beliefs as basis for political action |
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| song: Helene Furlong, salute presentation of the flag that begins every powwow, Iterative verses, wide vocal range, furlong doubles or seconds Bonatsie, bonatsie uses falsetto, slow tempo, vocables and ululation |
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| song: Furlong and Bonatsie, abbabb form followed by a nduah, fast tempo, pulsation in the male vocal style |
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| Concerto for Flute and Orchestra |
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| song: Reza Vali, Boston Modern Orchestra, concerto in two movements, solosit playhs and hums to simulate ney, darabukkah, melodies use slides and quarter tones of persian scale, mosaic elaboration, orchestra divided into three ensembles |
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