| What are the three periods of the Chinese Communist Party? |
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1) THE INITIAL COMMUNIST ERA (1949-1965): Saw the reformation of Chinese society and culture under communism
2) THE CULTURAL REVOLUTION(1966-1976): An era of intolerance for deviation from state ideology and extreme restrictions on cultural and artistic expression
3) THE PERIOD OF OPENNESS (1976-PRESENT): Period of major economic reform that saw China’s involvement in global economic and cultural markets drastically increase, and loosened restrictions on civil, cultural, social, artistic, and religious spheres |
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The leader who succeeded Mao Zedong after his death in 76′
Ushered China into its current PERIOD OF OPENNESS |
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| -best known of the New Wave composers to come from China |
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-leader of the band “ADO” whose songs were rallying cries for Chinese democracy and freedom.
Famous for first Chinese rock album “Rock n Roll on the new long March” |
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| who along with Bei Bei He composed “HOT THURSDAY” for the movie INTO THE WIND |
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| Zheng player born in Chengdu China who teamed with Shawn Lee for the HOT THURSDAY track |
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| The leader of the Chinese Communist Party who gained control of China in 1949, placed great control on artistic and cultural expression, promoted state ideology, died in 1976 |
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-A leading Zheng player from China
-won first prize in National Zheng competition in 1995
-BABAN TRADITION |
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| Make up approximately 92% of the Chinese population |
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| THE UNIQUE STYLE THAT EACH REGIONAL ZHEUNG SOLO STYLE HAS |
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| 1966-1976 An era which saw unprecented levels of intolerance for deviation from state ideology, extreme levels of state restriction on cultural and artistic expression |
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| A TRADE ROUTE FROM CHINA TO MIDDLE EAST |
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-JAPANESE COURT MUSIC
-MEANS ELEGANT MUSIC
-very refined, aesthetic, courtly |
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-Japanese board zither chordophone
-13 strings
-historically related to the Chinese Zheng |
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-BEST KNOWN TYPE OF CHINESE OPERA
-HEAVILY INFLUENCED BY COMMUNISTS
-like other types it features heightened speech, song, dance, acting, acrobatics. |
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-PLUCKED CHORDOPHONE WITH 4 STRINGS
-Chinese instrument of central Asian heritage, close historical association with the zheng |
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-Chinese board zither chordophone
-21 strings and moveable bridges, related to other Asian chordophones: Japanese Koto, Korean Kayagum, Mongolian Jatag, Vietnamese dan tranh |
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| Differences between Baladi (folk) and Sharqi (oriental) dance? |
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-raqs baladi is considered more of an “old fashioned” style
-sharqi is considered a more “contemporary” version of that old fashioned baladi style. |
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| Two origin stories of belly dance tradition? |
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1) THE GYPSY PEOPLE BROUGHT THE DANCES WITH THEM INTO EGYPT
2) THE GHAWAZI TRACE THEIR LINEAGE BACK TO THE DANCERS WHO ENTERTAINED PHAROAHS |
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| Leader of Egypt from 1954 until his death in 1970, placed emphasis on Egyptian cultural nationalism, promoted baladi or “folk” culture, raqs sharqi suffered under his regime along with western ideals and sentiments |
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| -MAIN PIONEERING FIGURE OF MODEN EGYPTIAN WOMENS DANCE (raqs sharqi) -famous for dancing with veil and heels |
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| A composer, singer and film actor born in Cairo, his compositions form the backbone of the modern Egyptian musical repertoire |
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Leading Egyptian dance music artist, famous for playing percussion instruments specifically TABLA
Worked with Jimmy Page/Robert Plant of Led Zeppelin, Rolling Stones, Pavorotti |
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| Stick fighting martial art which is also used as a folk dance or cane dance |
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-Egyptian dance rhythm
-Associated with the martial art of tahtib |
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-Upbeat dance rhythm
-used in accompaniment of Egyptian rural folk dances; also used to evoke peasant image in raqs sharqi, belly dance, and Egyptian folkloric dance |
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-Solo, instrumental improvisation in maqam-based Arab music
-performed in free rhythm or with rhythmic accompaniement |
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-MODE IN ARAB MUSIC
-part of a system comprising many maqamat (plural of maqam) |
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Opposition towards foreign domination inspired the rise of nationalism, came in 3 major currents:
1) Localism: pride in Egyptianess as opposed to foreigness
2) Pan-Arabism: Identifying with other Arab-speaking peoples and with Arab-Islamic history/culture
3) Islamism: Principal identification with the Muslim religion and those Muslims of the Arab world |
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| Virtually all music artists or dancers that were popular in anyway were also stars on the movies in Egypt |
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-Ancient healing ritual rooted in shamanistic practices involving spirit possession
-zaar-derived rhythms and dance elements are used in all forms of dance |
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-Neo-Traditional dance genre
-involves close coordination and interaction between dancer and drummers, often highlight of raqs sharqi or belly dance routine |
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| -Lead drum in Egyptian dance music, This single-headed, goblet-shaped drum goes by other names of darabukkah, dumbek, doumbec |
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| Takht Ensemble and instruments involved |
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-MIDDLE EASTERN ENSEMBLE ORCHESTRA
-the ‘ud
-nay
-qanun
-violin
-riqq
-sometimes supplemented by Egyptian tabla |
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“Folk dance” implying associations with rural culture or origins.
TRADITIONAL DANCE |
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| “Oriental Dance” the professional style of dance seen in media, ceremonies etc. CONTEMPORARY DANCE |
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-Played BATA/CONGA DRUMS (Bata and Rumba traditions)
-mentored Tito Puente and HELPED POPULARIZE LATIN JAZZ IN US |
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-Puerto Rican
-Helped Popularize big band mambo music in US
-Played timbales
-Leader of Mambo Kings with Tito Puente, Machito |
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-Master bandoneon player
-Dominant figure in Tango music
-transformed tango (blended with other styles/influences) |
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-Invented chachacha in cuba
-Played violin |
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| Machito and the Afro-Cubans |
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-Leader of the Afro-Cubans band
-Popularized Cuban dance music in NY
-Helped invent salsa and refine Afro-Cuban JazZ |
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-Mexican American Rock Guitarist
-Turned OYE COMO VA into a Latin rock song rather than just Latin music by using electric guitar and Hammond organ
-His verision became a staple of Latin dance |
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-Released a version of “OYE COMO VA” featuring electronic elements and organ
-Played timbales |
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-Most famous Latin jazz, salsa, and Latin music purveyor
-Originally wrote OYE COMO VA a cha cha cha tune
-Played Timbales
-Born in NY Puerto Rican descent
-Apart of Mambo Kings and Afro-Cubans for a short time |
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| Ballroom that was the epicenter of Mambo and Big Band Mambo for bands like Machito and Tito Puente |
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-Highly syncretic mambo style of 50s
-Identified with Tito Puente, Machito, Tito Rodriguez
-Used more Afro-Cuban popular music elements than earlier Cuban mambo styles |
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| -Fundamental rhythm of Latin music |
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| -Instrument consisting of a pair of thick round sticks that are struck together |
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| -Sacred drums used in rituals of the Santeria religion |
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-Afro Cuban Religion
-Based on traditional West African religious practices of Yoruba people + Catholicism
-Use of bata drums is central |
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| -New York resident of Puerto Rican descent (includes native NY’ers and PRican immigrants) |
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-Umbrella term for music styles that combine Latin dance + popular music’s with jazz
-Cuban Son
-Overlap with salsa often |
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-Major form of Latin music
-ROOTED IN CUBAN SON
-Emerged in NY in 70s |
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-CUBAN DANCE MUSIC
-Simple dance rhythms and singing
-Originated w/Enrique Jorrin in 1950
-Gained fame when Puente and other NY bandleaders changed it into new musical identity |
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-CUBA (AFRO-CUBAN)
-Popular 1920s on
-influenced danzon, danzon mambo, mambo
-led to salsa/latin jazz
-Symbol of Cuban nationalism
-Central figure was ARSENIO RODRIGUEZ
-DIFFERENT FROM MEXICAN SON |
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-CUBA
-Creolized Cuban dance of Cuba in 1920s
-Came before danzon mambo and cha cha cha
-Closely tied with charanga ensemble |
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-MEXICO
-Developed from regional forms from rural areas and a wide range of other Mexican and international styles |
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-ANDEAN COUNTRIES
-Music centers around religious, life cycle events and ceremonies
-People are close to their AYLLU or NATIVE COMMUNITY, EGALITARIAN SOCIETY THAT IS DEEPLY CONNECTED MUCH LIKE MUSIC |
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-AREGENTINA
-popular in 1920s-1930s
-transformed in later years by those such as Astor Piazzolla |
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-BRAZIL
-Umbrella term for music traditions of brazil that share Afro-Brazillian ancestry
-energetic percussion
-call and response singing
-improvisation
-dancing
-dramatic presentation |
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-BRAZIL
-Emerged in late 1950s
-Combined samba and jazz elements
-Cool, laid-back style, ELEVATOR MUSIC |
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-BRAZIL
-Cannibalistic and radical musical style (stole other musics elements)
-Often was a culturally/socially activist in nature
-Os Mutantes was leading proponent |
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-CUBA
-More afro-cubanized version of earlier danzon
-Created and popularized by ARCANO Y SUS MARAVILLAS
-Influenced cha cha cha and later forms of mambo |
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| The Jeli Family of Diabate |
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-One of three families devoted to playing Jeliya music (
-Jeliya music is a style in the mande culture
-Sidiki Diabate, Toumani Diabate (his son), Mamadou Diabate (nephew of Sidiki) all play KORA |
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-Malian born member of Keita royal family
-Jeli and Kora virtuoso |
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-Malian born singer of Keita royal family
-Brought attention to Malian music
-Brought attention to cultural/musical/societal issues in Mali |
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-Singer Born in Benin is of FON ethnicity
-Benin as a country speaks French
-Most famous song is 1996 dance hit “Aye” from most famous “Fifa” album
-Soul/Blues/Funk/Jazz/Fon |
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-South African vocal group
-Created ISICATHAMIYA genre
-Featured in Graceland documentary
-Brought attention to apartheid in South Africa
-Helped bring down apartheid |
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-Complex polyphonic textures
-Layered ostinatos with varied repetition
-Conversational element
-Improvisation
-Timbral Variety
-Distinctive pitch systems and scales |
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| -Akan royal drum ensemble featuring several drums and dawuro or IRON BELL |
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-South African acapella vocal genre
-Largely associated with Ladysmith black Mambazo |
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-Jeli: A musical artist in Mande culture; typically descended from a hereditary jeli family (Kouyate, Diabate, Sissoko)
-The instrumentalist Jeli play specific instruments (Kora, bali, koni)
-Jeliya: The artisitic culture of the jeli, including its praise songs and instrumental traditions |
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-Xylophone of mande people of West Africa
-Historically identified with jeliya musical traditions |
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-Jeli instrument
-Banjo-like plucked chordophone of the Mande
-Bassekou Kouyate is best known player |
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-21 string mande spike harp chordophone
-jeli instrument
-Diabate family all great kora players |
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-Comprising many voices
-Refers to conversational element in West African music
-MANY VOICES (VOCAL/INSTRUMENTAL) CAN SPEAK AND BE HEARD AT ONCE
-EXPRESSES UNIFIED DIVERSITY OF VIEWS |
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| -Multiple layers of rhythm occurring simultaneously in a musical context |
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-Language where word meaning is determined by sound of syllables + patterns of pitch + timbral inflection + Rhythm
-Many West African languages are tonal so is CHINESE |
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-River comes from divine source of creation
-River provides water which is essential to life
-River connects Akan people to their creator
-The path marks the routes of human existence
-RIVER RELIES ON PATH AND PATH RELIES ON RIVER TO FUNCTION |
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-Large ethnic group of West Africa
-Concentrated in Ghana |
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-1980S IRISH BAND
-Traditional Irish Dance medleys |
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-Founded in 1963
-Emerged from Ceoltoiri Cualann |
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-Formed by Sean O’Riada in 1960
-Instruments featured: uilleann pipes, two fiddles, tinwhistle, button box accordion, and bodhran (a hand-held frame drum with a goat skin head)
-Ensemble sound |
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-Irish American fiddler
-Emerged in 1980s |
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-CENTRAL FIGURE IN PERFORMANCE, PRESERVATION, DISSEMENATION OF IRISH MUSIC
-IRISH FOLKLORE COMMISSION SONG COLLECTOR
-BBC/FULL TIME MUSICIAN
-Played uillean pipes and tinwhistle |
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-Founded Ceoltoiri Chualann in 1960
-Most important figure in Irish music revival during 1960s |
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-Irelands national radio station
-Irish nationalism |
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| Irish hand held frame drum with a goat skin head |
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-Informal social gathering involving dancing
-Usually held at an Irish pub or dance hall |
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-Musical form in which two or more pieces are performed one after the other without pause
-IRISH DANCE TUNES SPECIFICALLY |
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-Informal gathering where musicians playing different instruments come together to perform traditional tunes
-Does not involve dancing
-Play newer tunes molded after traditional ones also |
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| -Most commonly used dance rhythm in Irish music |
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| -Commonly used dance rhythm in Irish music |
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-Irish version of the bagpipe
-Most distinctively Irish music instrument |
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| -Harp is the national symbol of Ireland |
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-The “OLD WAY” songs
-Sung in Irish Gaelic
-Revered as cornerstone of traditional Irish music |
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-Slow instrumental melodies
-Often performed in free rhythm |
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| 5 propositions for studying world music? |
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1) The Basic property of all music is sound
2) The sounds (and silences) that comprise a musical work are organized in some way
3) Sounds are organized into music by people; thus music is a form of humanly organized sound
4) Music is a product of human intention and perception
5) The term music is inexplicably tied to western culture and its assumptions |
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-If any sound/group of sounds/combination of sounds is intended to be presented as music—it is music
-If any sound/group of sounds/combination of sounds is perceived as music—it is music |
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1) Values inclusiveness over exclusiveness
2) Emphasizes the idea that music is inseparable from the people who make/experience it |
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| Differences between KUNQU and BEIJING opera? |
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BEIJING:
-4 characters, beards, marks, face paint, heavy COMMUNIST INFLUENCE
KUNQU:
-stylized talking, acrobatics, romantics, fantasy themes, high pitch, NO COMMUNIST INFLUENCE |
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| Instruments used for belly dancing? |
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-TABLA DRUMS
-FINGER CYMBALS
-BAMBOO FLUTE (NAY) |
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| Instruments used in zaar ritual? |
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