World Music
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85 terms
Terms | Definitions |
|---|---|
 Karnatic Music | Southern Region, reference Tyagaraja a saint and musician. Unlike Tansen, Tygara refused government position. Kriti is a type of their music, vocals are important. |
| Hindustani Music | Northern Region, Improv.. Gharanas derive their legitimacy from Tansen. "art music". |
| Tansen | Hindustani founder. court musician who needed to illustrate his professionalism in order to escape charges of emotive and sensual musical |
| Tyagaraja | A saint and Musician. for Karnatic musicians, not associated with any court, not bound by anything other than his bhakti or devotion to Rama. As such he didn't need to protect his musical creations but rather shared them freely. |
| Gharana | A school of professional musicians who originally traced their heritage to a family tradition |
| Raga | A scale with musical characters such as pitch, ascending, descending |
| Svara | pitches |
| Vakra | crooked ragas, starting in 1 place and moving |
| Gamaka | Ornamenttion that notes may carry |
| Sargam | a organization system helping people to learn rags |
| Svarkalapana | Improvised singing in carnatic |
| Eduppu. Mukhra | The opening phrase of a Kriti |
| Tihai | A pre composed phrase said 3 times to add emphasis |
| Laya | tempo |
| Drut | Fast Tempo |
| Vilambit | Slow Tempo |
| Tala | Meter |
| Jati | metrical cycles with beats |
| Bol | Hindustani rythmic syllable |
| Solkattu/ Konnakol | rhythmic system to help people remember, combining simple combos |
| Bhajan | A Carnatic devotional Song |
| Kriti | The major Carnatic music (South). In 3 parts pallavi, anupallavi, caranam. |
| Alapanam | An improv performed before the Kriti, demonstrates abilities |
| Pallavi | Opening of the ragam, chorus |
| Anupallavi | the extension of the chorus, exploring other octives... |
| Caranam | is an off-shoot of the anupallavi and is often very virtuosic in terms of the improvisatory gestures that get incorporated into its performance. |
| alap | Alap: Raga improvisation in free rythm |
| gat | a precomposed piece in a raga |
| dhrupad and khyal | vocal performance |
| ghazel | A form of poetry from Muslim culture from North India |
| Jor | Section of Hindustani instrumental performance that follows alap and introduces pulse |
| jhala | The concluding section of instrumental improv following Jor in Hindustani music with lively and fast movements |
| volkstumlich | "Folk like" music of central Europe in which traditional folk and modern popular music are often mixed |
| melismatic | - Performing a single syllable of text by singing multiple notes or pithes is called Melisma. Syllbic singing by contract matches one syllable to a single note or pitch. |
| klezmer music | - Jewish instrumental musicians, active in social events and rites of passage before holocaust and revived in 20th century America. |
| saami | Circumpolar peoples, living in northern Norway, Sweden etc. Whose musical pracrices in Europe mix indigenous and modern sounds. |
| roma | Transnational communites of people reffered to as Gypsies. Active in Europe history and across continent. |
| parlando rubato | Identified and characterized by a speech like style stressing the worlds with rhythmic structure. Associated with "old style" Hungarian folk song. |
| tempo guisto | A dance like style that stresses strick meter adherence. Associated with New Style Hungarian folk song. |
| old style/ new style hungarian folk music | New Style Hungarian Folk- More flexability in the new folk, and any Hungarian song fits into "New". Melodies are repeated, 4 live verses, ruthem is dance like, non Hungarian elements incorporated, influence of popular song is used Old-Style- a 5 note pentatonic scale, melodies start high and end low, rhythm is speech like, on popular song. |
| volkslied | "Folk song" the song of traditional europea societies included under a single umbrella term from the 18th century |
| tamburitza | String ensemble from Southeaster Europe with high and low voices |
| saz | No recording. Lutelike instrument from Germany. |
| gusle | a lap fiddle of a Serbian ethnic singer |
| becar | Instrumentalist from southeastern Europe |
| ladino | Pre Italian latinate dialects of southern alps Romance vernacular of Sephardic jews. |
| eurovision | A huge song contect established in 1950s. By European Brodcasting Union. Pitting national entries against each other in an annual spectacle judged by telephone voting from entering nations... HUGE |
| Bira | A shona religious ceremony involving spirit possession. Uses 2 Mbiras and a Hosho (Shaker) |
| Shona | Zimbabwe people, a type of poetry that was used to speak against violence in ZImbabwe.. Chimeranga means struggle. |
| Mbira | An African Thumb Piano |
| Kushara | Part of the call and response The lead piece played by a Shona mbira player |
| Kutsinara | Part of call and response The answer piece played by a shone Mbira player |
| 3 Principles of African Music | Interlocking- fitting ones pitches and beats into the spaces of other parts also called Hocket Call and Response- the alternation or interlocking of leader and chorus of musical parts Ostinato- A repeated or cyclical melody or pattern |
| Mbuti Pygmies | from congo offer a particular style on several african themes and use Hocket. |
| Musical Bow | Played in performer's mouth. Manipulate tension on the string to create pitches and melody. Mouth is used to change how much air goes in. |
| Hocket | technical term for requiring more than1 person to perform the melody (INTERLOCKING) |
| Jali | the term for hereditary professional musician in Mande society who serves as an oral historian |
| Kora | Instrument used by Jali, its a harp basically |
| Mande | Traditional Mali music |
| Ewe | ..Dance Drumming |
| Dundun | Drum with attached with woven strings or cords, creating a suspension head. Incorporated into popular music |
| Highlife/ Palmwine (Ghana) | Palmwine is the name of the taverns where music was played, an ensemble consisted of a guitar, bass and percussion (whatever they could get their hands on) |
| Juju (Nigeria) New and Old | Nigerian Music with 2 parts : Early and New Early: grew out of Palmwine with Banjo, tambourine and rattle. No brass sound New: Since 1950s, expanded groups, and using Brass and electric guitar and accordion... |
| Chimurenga (Zimbabwe) | Zimbabwe Music born from struggles uses a Mbira and very political |
| Peking Opera | musical attraction in Beijing, main type of chinese pop music |
| Qin/Guquin | - the most respected chinese instrument. A 7 string zither Famous song Lu Shui (Flowing Water), associated with scholars and poets |
| Wenzipu | prose tablature (what people read off as they play the Guquin) |
| Jianzipu | ... |
| Portamento | Bending of pitches for example on the Guquin... |
| Silk and bamboo ensemble | ... |
| Pipa | ..a 4 stringed flute with a bent neck imported to Kucha |
| Erhu | Chinas how and string instrument |
| Wen | - a short composition of Pastoral/ Lyric (can be about nature) |
| Sheng | Also a short composition Martial (modeled on famous stories lite battles etc) |
| Yanquin | dulcimer struck with a pair of bamboo sticks) |
| ... | ... |
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| Hoomi | Relaxed Throat Singing |
| Sygyt | To whistle also type of throat singing |
| Kargara | to wheeze, drone is low in throat singing |
| Borbangnadyr | pulsating rhythm like galloping horses |
| Shoor | ...End-blown Tuvan flute made from reed or wood |
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