Mainzairaku (gagaku) (1-2)
Kyoto Imperial Court Music Orchestra; example of unfamiliar organizational schemes
Khawatim Soorat: Al Baqara (group Qur'anic chant)
Sheikh Mohamed Al Helbawy and ensemble
To Be Such a Man
Wei Li& The Far Eastern Music Ensemble; example of meaning in music.. how it is different in certain countries-- beautiful in China, may be considered not as beautiful by others.
Amartuwshin Baasandorj, "overtone singing"
Central Javanese gamelan;
Balinese gamelan; different from example 1-6, ex. of idiophone, what are xylophone sounding things?
music used in ritual, zaar; these specifically are used to accompany a dance performed by a woman who is believed to have fallen ill as a result of being "possessed" by an asyad, or a supernatural being; duple meter; starts off slow (just drum)
music as commodity & the patronage of music: example of different models of ownership of music becoming complexly intertwined when cultural representatives of different societies join forces. aerophone example
The Cuckoo's Hornpipe
triple subdivision; figure 3.5 page 35, irish tinwhistle (aerophone), duple compound (reels are in duple simple)
example of free rhythm, membranophone - indian mrdangam drum
large melodic range,
performed by hossam ramzy, tribute to avd al-wahhab, has maqam based melody and is more egyptian than western. ornamentation..
zheng; based on western system-- melody, chords, harmony
dynamics important in this piece, solo voice based on text of jewish mystical prayer,
Eileen Ivers; innovative, transnational
Raga Nat Bhairav
Vishwa Mohan Bhatt; improvisation, "indianized" guitar- mohan vina
example of cal and response, Tebogo T, ostinato based form
Autumn Moon Over the Han Palace
example of baban form, Deng Haiqiong. Representative of the shandong regional style. simple pieces, has yijing of "sadness".
Music from the Muqam
played by Den Haiqiong, solo zheng piece with drum accompaniment. made by 3 Han composers. Inspiration and style from Uighur tradition Dolan Muquam. Three formal sections; ABA. rhythm on dap (uighur drum). composers brought deeper feelings and expression and new playing techniques.
Post-traditional. Traditional aspects: Pinchik's voice, the text used, contour, pitch ascent, dynamics manipulated. Innovative: electronic instruments, techno/funk rhythms, reverb, not text based. form is ABA'B'CB".
Ruth Weider Magan, ratso v'shov, dynamics, song builds, why?
zoharic chant, slowly builds, very traditional piece.
Wira Ghorava Cakti
kreasi beleganjur piece by I Ketut Suandita. competition. traditional roots, but is firmly neo-traditional. gilak gong cycle, ostinato core melody, some kilitan telu. gong cycle drops out at some points .. drums, cymbals, reyong play solos, each play has own pattern instead of 3 interlocking rhythms, blurs distinctions between fast and slow sections
adaption of nyoman windha's kemband pencak by evan ziporyn with a saxophone substituting the voices of windha's version. ziporyn wanted it to be a true "coming together of musics"
Belhadawa Walla Belshaawa
translated to "rough or cool"? to be used in tabla solo performance, all percussion and exhibits the major dance rhythms discussed (masmoudi, fallahi, malfuf, saaidi, zaar) ramzy plays all instruments (dubbed). opening - call and response.
Return of the Fishing Boats
by Lou Shuhua, neotraditional. Most famous of reform pieces, broke away from baban form. Opening section sounds very traditional baban and last section represents departure from form with innovations reflecting Western aesthetic. Highly embellished ostinatos, melodic charater, use of glissandos and increase of tempo for porgrammatic effect.
Spring on Snowy Mountains
by Fang Shang'e, performed by Xiao Ying. Reflects social ideals. Depicts Tibetans happily singing and dancing welcoming the Chinese rule. (not true) Style is very western; two-handed playing style of zheng, two-part texture and virtuosic.
saaidi rhythm example
Baladi We Hetta
fallahi rhythm example
The Moon Is High
zheng & pipa, Deng Haiqong