Music in World Cultures
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65 terms
Terms | Definitions |
|---|---|
 carnatic/ bhajan | Devi Niye Tunai genre (c/b) |
| voice, drone, mridangam | sound producers in Devi Niye Tunai |
| Mridangam | most common southern Indian drum. Pitch drum on right head, on base head there is deeper pitch variation. |
| drum, improvised | In the song Devi Niye Tunai, both the __ and the singing are ___. |
| PAPCP | in Devi, the song form is this: (5 letters) |
| keeravani | the raga of Devi |
| devotional | Devi is especially __ because it is about a god and is carnatic |
| Pallavi | which verse does the drum enter in devi? |
| adi | what is the tala in devi? |
| 8, 4, 2, 2 | In Devi, the tala has __ beats and is subdivided into __ + __ + __. |
| the vocals | during Sarasiruha, the instrumentals are based on what? |
| natai | what raga is Sarasiruha? |
| veena, mridangam | the sound producers in Sarasiruha are the __ and the __ |
| Saraswati | Sarasiruha is meant to be sung addressing __, who is the goddess of music and learning. |
| ATKKsTaK | the form of Sarasiruha is this: (AAAAbAbA) |
| kriti | when is the adi tala introduced in the Sarasiruha song? |
| tanam | what section of Sarasiruha has tala but no raga? |
| alapana and tanam | which sections (2) of Sarasiruha have raga but no tala? |
| kriti and (kalpana) svara | which sections (2) of Sarasiruha have both raga and tala? |
| veena | In the beginning of Sarasiruha, there are two improvised sections (the alapana and the tanam) during which the __ player performs alone. |
| free (and) improvised | What distinguishes the alapana from the tanam in Sarasiruha? The alapana is completely __ and __. |
| kriti | When does the drum enter in Sarasiruha? |
| the singer sings the names of the notes instead of lyrics | What distinguishes the kalpana svara from the rest of the kriti? t s s t n o t n i o l |
| mughal empire (around 1605) | in what cultural context did the Raga Yaman/hindustani music style develop? |
| sitar and tabla | what are the sound producers in raga yaman? (2) |
| gat | a pre-composed melody in the hindustani music |
| mukhra | initial phrase of the gat (melody) |
| pre-composed, improvised | Gat-tora: alternates with a __-__ melody (gat), and __ sections (tora). |
| 1, 5, 13, 9 | in the Raga Yaman, the tal is called Tintal and there is clapping on _, _, _, and hand waving on beat _. |
| AG(medium)J(fast) | form of Raga Yaman AAA |
| jhala | energetic use of rhythm, follows the gat-tora and is accompanied by a tabla. |
| Tihai | precomposed phrase that is repeated three times to add emphasis to an arrival or to signal a shift to a new section. |
| gurukulam | this word mean's at the guru's house |
| 20th | what century did school really get bigger for teaching music? |
| veena | an instrument with 3 drone strings and 4 playing strings. Complex slides and pulls of the strings allow the musician to interpret the character of each raga and its subtle intonation. |
| tambura | an instrument that is unfretted and round-bodied, with a hollow neck and four or five (rarely six) wire strings. The strings of the Tambura are plucked one after another in a standard pattern, in order to create a tonic resonance field in Hindustani classical music. |
| late 1700s | when was the genre kriti made? (late) __ |
| carnatic | carnatic or hindustani style has more ragas? |
| talkies | with the invention of these, films were no longer silent and it created a whole new style of music |
| temples, musicians, buying, radio, schools | some changes to music patronage in 20th century: decline of power in ___, __ moving to cities, __ tickets to concerts, __ and tv, and __. |
| tyagaraja | a famous carnatic artist. he was the inventor of the kriti |
| tansen | main singer of mongal court. he invented a ton of ragas still used today. |
| devadasi | young women who were ritually married to the god of a particular Hindu temple. They got to be literate, and were of higher status. |
| British, prostitution | In 1799, the __ took control of most revenues and this accelerated the decline of the system of patronage that had been supporting the devadasis and other temple services.Because of that, many devadasis lost their livelihood and hones and turned to __ and were overall viewed as prostitutes. |
| decline, urban, recording | The rise of the urban middle class affected music and dance performances in the 20th century by: __ of courts, rise of __ middle class, patronage to general public, radio, __ industry, film industry, schools. |
| arranged marriage | young girls especially were expected to learn at least enough music so that when it came time for an __ __, the parents could "sell" her skills to the family and the groom could dream of being seranaded by his bride. |
| texture | this is the interrelationships of simultaneous sounds. |
| melody | this is the pitch aspect of music |
| sound producers | this is who/what makes the sound we hear (vocal/instrumental) |
| form/structure | this is what happens musically from beginning to end of piece |
| rhythm/meter | this is the time aspect of music |
| text | this is the meaning/significance of song words |
| tanam | verse of south indian music that is highly rhythmic exposition of the raga. No tala but a strong sense of a beat. |
| alapana | verse of south indian music that is nonmetrical, no regular beat; flowing proselike "breath rhythms", phrases that eventually come t o rest on important pillar notes. |
| harmonium | instrument with a small box with a bellows and a keyboard |
| sitar | instrument remotely related to a guitar with a very long, wide neck |
| tambura | instrument similar to the sitar but with no frets, because its strings are simply plucked to provide a drone |
| tabla | instrument that's a pair of small drums |
| pakhavaj | instrument thats another drum, barrel-shaped and has 2 heads |
| alap | raga improvisation in free rhythm. |
| lay | tampo in north indian music |
| tan | rapid improvisation in hindustani music |
| jor | section that follows the alap |
| jhola | concluding section of instrumental improvisation...performers make lively and fast rhythmic patterns on the drone strings. |
| tala | meter in hindustani music |
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