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| Transcription, comparison, origins, dissemination, genealogy, scientific method, “universalist,” “evolutionist.” |
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| Preservation, nationalism, education, social context. |
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| Traditional Ethnomusicology |
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| Fieldwork/immersion, Anthropology, cultural relativity, distrust of broad generalities, focus on acculturation and change. |
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| Study of musical instruments |
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| Instruments that make sound using the vibration of air’ Flutes reeds trumpets |
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| instruments with multiple strings,Sound is produced when string vibrates |
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| The vibration of the instrument itself produces sound, plucked struck or shaken |
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Lute- bowed vs plucked, fretless vs fretted
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Zither- no neck, plucked vs struck
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| overtones or quality of sound |
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| relationship of 2 sounds over time |
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| Relationship of 2 pitches over time |
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| 2 sounds with similar pitches making 1 sound |
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| The underlying structure of a musical performance |
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| music with a single melodic line |
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| multiple lines of music performed simultaneously |
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| multiple lines of music expressing the same idea |
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| multiple performers playing simultaneous variations of the same line of music |
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| all the pitches common to a musical tradition |
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| distance between 2 pitches |
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| text setting and the 2 types |
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rhythmic relationship of words to melody
syllabic- one pitch per syllable
melismatic- more than 1 pitch per syllable
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grouping beats into regular unite
duple- groups of 2
triple-groups of 3
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| blending musical influences from different cultures |
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| Origins of throat singing |
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| natural and supernatural, was believed that the spirits were listening |
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| high whistling in throat singing |
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| the drone or undertone in throat singing |
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| making music mimic the sounds of nature in orderto establish a spiritual connection |
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| Listening style of throat singing |
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| to imitate=iconicity=assimilating spiritual energy or power |
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| Evolutionist, Neo-evolutionist, Functionalist, Interactionist, Semiotics, Phenomenological |
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