-kebyar: "to flare up"

-composed music

-for listening or to accompany dance

-small gamelan ensemble

-puppet show tells story from Ramayana

-produces shimmering (beats)

(not in unison nor as separate sounds, just beats)

-ex. gamelan gong kebyar's shimmering quality

-a recurring sequence of strokes played on gongs of different size and pitch

-ex. Kecak

-processional ensemble

-"gamelan of walking warriors"

-warfare, rituals for dead, evil spirit battles

-"crowdedness"

-timekeeping: gong ageng/"great gong"

-elaborations: reyong/small and high pitched pots

-texture: kendang (drum), ceng ceng (cymbal)

-melody gongs

-rhythmic interlocking

-basis for great variety of different interlocking textures in Balinese music, some melodic and others purely rhythmic

-symbol of a Balinese cultural division of an integrated, interdependent community

-greater than sum of individual parts (all rhythms interlocked)

-gamelan suara or "voice gamelan"

-uses gamelan gong cycles, melodies, textures, but is chanted

-contemporary setting is dance drama

-uses interlocking/kilitan telu

-"creations"

-pageantry, costumes, and choreography

-varied texture between sections

-fast section, slow section, then fast section

-traditional beleganjur instrumentation/playing style

-gerak

-ex. 2-7 is neo-traditional

-present in kreasi beleganjur

-choreographed movements

-reference to beleganjur symbols like cremation tower spinning

-Filmi git are Indian film songs

-largest film industry in world

-major component of contemporary music is bhangra

-originated as folk/harvest music in the Punjab region

-Dhol, flute, other instruments

-Women's version is giddha

-Anakh Punjab Di

(2 sounds, bass and snare)

-Hindu devotional songs

-traditional associated with Bhakti Hinduism

-Sufi devotional music

-communion with divine

-lead singer plus ensemble of vocalists/instrumentalists

-melody, drone, rhythm

-singing is highest form of expression

-instrumental parallels vocals

-hindustani (international) versus Carnatic (singing more elevated)

-sitar, tambura, tabla

-guru (mentor), gharana

-gharana is "musical family"/school of raga (shared style/approach, similar to uncle/nephew)

-vina (a plucked chordophone)

-South India

-status of singing more elevated relative to instrumentals

-distinct from Hindustani since 16th century

-less influence from Islamic cultures

-most famous indian classical musician

-incredibly influential instrumentalist

-north indian

-sitar

-collaborations (west meets east)

-"keeping tal", marking musical time

-complete and self-contained melodic system

*5 Features of Ragas*

1. identifying set of pitches

2. unique ornaments and patterns

3. rules and procedures for playing

4. repertoire or compositions

5. host of extramusical associations

-rhythmic framework

-metric cycle

-Sam is the first and last beat of cycle

-each has certain number/strength of beats

-theka, tintal

-Skeletal drum pattern outlining tala cycle

-may be outlined with bols, or spoken syllables of tabla sounds

-drummer improvises, often finishing with tihai, a rhythmic cadence repeated 3x

-counting and drum syllables

-16 beat pattern

-Khali (O) is the empty beat, opposite of sam (X)

X . . . X . . . O . . . X . . .

-nonmetric, slow moving

-improvised

-each principal tone explored

-melodic range expands

-rhythms become more animated until pulse

-tabla enters

-metric

-improvised and composed sections (in raga) that become longer

-musical dialogue

-gradual increase in tempo

-goal of Nada Brahma, “the Sound of God”

John McLaughlin and Shakti

-converted to Hinduism

-studied with Shankar, played w/ Miles Davis

-used his own modified guitar

-Shakti (“creative intelligence, beauty, and power”)

-Indian musicians, including Ravi Shankar's nephew (Zakir Hussain, tabla)

-Hindustani and Carnatic musicians

-Tabla player

-Created own percussion kit

-Signature bucket of water for changing pitch and timbres

-Member of John McLaughlin Trio

-Fusion music

-6/7 strings, 13 sympathetic strings (vibrate in response)

-melody and drone

-chordophone

-movable frets

-slight parabolic bridge for javari

-drone

-4/5 strings played open in regular patterns

-gourd resonator (wood in south)

-fundamental pitches of raga, vadi (tonic)

-Jivari bridge and jiva threads (gives soul or life)

-comes in different sizes to accompany males, females, sitars

-membranophone(s) w/ goatskin heads

-black spots in middle (different timbres in same drum)

-tunable (all in tune with one another)

-produces many sounds

-virtuosic

-regional folk music styles

-symbolic of national identity

-most commercially successful traditional music of europe

-traditional (irish fiddle solo), neo (ensemble of acoustic instruments), post (rock influenced)

1. sean nos (sung in Gaelic, prominent melodic ornamentation, distinctive rhythmic phrasing, emotion, nature poetry, love songs, and religious mysticism)

2. airs (slow instrumental melodies often performed in free rhythm)

3. sung in English

4. irish harp (often diatonic)

5. instrumental dance tunes and medleys (most popular type of music)

1. complex polyphonic textures

2.layered ostinatos

3. conversational elements

4. improvisation

5.Timbral variety

6. distinctive pitch systems and scales