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-the organization of time in music
-all music has rhythm |
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-basic unit of rhythm in most music
-divides musical time into equal segments
-can be present without being explicitly played |
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-speed of the beat
-sometimes flexible, sometimes changes |
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-emphasis placed on a particular note
ex. strong beats and weak beats
-similar to language hip-po-po-ta-mus |
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| musical durations that are longer than the beat |
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| musical durations that are shorter than the beat |
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accented notes that fall in between the beat
ex.simpsons |
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| the grouping of beats into regular units |
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| music with no meter or beat |
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| an emphasized or weighted note is... |
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-the frequency of sound
-or "note"
-determined by speed of sound waves
-in west: they can be high or low |
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dominance of a particular frequency level
-a pitch you can sing |
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a cluster of more or less equal frequency levels
-sounds that cant be sung
(handclaps, whispers, foot stomps) |
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-a pitch with a frequency exactly twice as fast or twice as slow as that of another pitch
-often perceived as the same note |
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| a collection of pitch frequencies (based on the octave) that are commonly used in a given music tradition |
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| set of pitches (usually in ascending order) used in a particular song, piece, performance, etc. |
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-a series of notes forming a distinctive, recognizable unit
-usually the primary part you typically sing to |
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notes are close together
(deck the halls)
"stepwise" motion |
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notes are further apart
(star-spangled banner)
movement by leaps |
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| embellishments or decorations added to a melody |
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the process of combining words and music
-how the words and melody are created |
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| one pitch per syllable of text |
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| multiple pitches per syllable of text |
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| falls in between syllabic and melismatic |
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| three or more definite pitches sounded together |
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| pitches that compliment, or support, the main melody |
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| pitch combinations that are pleasing to the ear |
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| pitch combinations that are "jarring" or "clashing" to the ear |
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ways in which multiple voices or instruments interact
4 types |
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a single line of music with no accompaniment.
-may be performed by one person or many
-ex. singing happy birthday as a group |
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two or more melodic line of relatively equal importance are performed simultaneously
ex. singing in a round (row, row row your boat) |
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only one dominant melody, the other parts are less important
-1. melody with accompaniment (chords)
-2. multiple lines moving together (melody with harmony) |
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multiple performers simultaneously playing sight variations on the same line of music
-least common in western music |
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the quality of musical sounds ("tone color")
-some descriptive terms: nasal, dark, mellow, strained etc.
-determined by overtones |
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| relative volume of musical sounds |
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| -divided into north and south culture regions |
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-lots of outside influence (migration, conquer)
-very diverse (many religious traditions)
-culture more secular than the South |
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-Much less outside influence
-Hinduism is the dominant religion
-culture more religiously bound |
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| Hindustani "Classical" music |
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-why "classical"
-similarity to western classical system
-formal concert tradition
-years of formal training required
-predominantly professional musicians |
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| The Basics of Hindustani classical music |
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-predominantly instrumental
-highly virtuosic, centers on soloist
-predominantly improvised
-long performances- single piece often over one hour
-Aural tradition- not written down |
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-Drone: sustained pitch or pitches, usually underlying a melody.
- |
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-four strings, fretless
-strings tuned to fundamental pitch, octave, and fifths
-performer is not supposed to follow beat/rhythm of other instrumentalists |
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-melody instrument
-most famous indian instrument
-6-7 main strings, 12-ish sympathetic strings, all metal
-moveable frets
-brighter, "twangier" sound |
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-melody instrument
- calfskin-covered resonator, fretless w/ metal fingerboard
-6 main strings, 12-ish sympathetic strings, all metal
-darker, "woodier" sound |
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-Hindustani percussion
-two drums: one larger (bays) and small (tabla)
-patches on heads reduce overtones and ofcus the pitch
-tuneable- tuned to key of raga
-multiple strokes used to produce different sounds. sounds learned with spoken syllables (bols) |
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system governing composition and performance in Hindustani music
-has no western equivalent
-"raga" encompasses:
-set of pitches to be used (a"scale")
-set of melodic idea
-system of rules and procedures about how and what to play (ornaments, resting pitches, movements between notes)
-Rasa (nonmusical associations): moods/emotions, colors, animals, deities, times of day, season, magical properties
-also used as equivalent of "song" or "piece" in Hindustani |
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- rhythmic cycle with a fixed number of beats divided into sections
-hindustani "meter"
-tabla player improvises within tala framework
-# of beats anywhere from 3 to over 100 |
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| -tintal- 16 beats in 4 groups of four |
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1. Alap
-introductory section
-drummer sits out, no tabla
-tambura and melody instrument only
-entirely improvised
-increases in tension
2. Gat
-tala begina, sita/sarod plays main raga melody (gat)
-tabla enter, not always on beat 1
-open improvisation based on notes of raga, gat melody and tala |
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| where in India is culture more religiously bound? |
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| South India- carnatic region |
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| which instrument is responsible for providing the drone in Hindustani music |
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| non-musical associations for Hindustani raga are called |
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| 1st hindustani musician to perform on American television |
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| recorded several albums in late 50's (sitar) |
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saxophonist
"India"
drone like sounds- tambura
long improvised solos
single chord for the entire song |
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First rock song to use sitar
-indian influence in guitar solo |
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| George Harrison & The Beatles |
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harrison introduced to indian music by members of the Byrds
-spent 6 weeks in India studying sitar with shankar |
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| rock music that incorporates significant indian musical influences |
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| The most influential sitar player of all time |
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| The first rock song ever recorded using sitar |
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| "Heart Full of Soul" by Yardbirds |
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developed early 1800's
solo tradition: 1-2 melody players |
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| melodic contour and accents provide rhythm |
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mostly subdivisions- lots of notes
highly ornamented |
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| heterophony: multiple performers simultaneously playing slight variations of the same line of music |
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| Traditional irish music loses its association with dancing when |
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-1960's
-accompaniment instruments are added |
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most are diatonic (cant play all12 notes of western tuning system)
-uilleann pipes
-fiddle
-irish flute
-Whistle
-Button accordion
-concertina |
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| Accompaniment Instruments |
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-Guitar
-Bouzouki
-Mandolin
-Bodgran |
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| Guitar and Bodhran are 20th century additions to irish instrumental music |
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| the term used to describe the texture of most Irish Instrumental music is |
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| irish instrumental music originally developed as music to accompany dancing |
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a "living tradition"
-old and new performed alongside one another
-oral tradition
-men and women perform in equal measure
-english and irish language traditions |
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| notation and written lyrics not used |
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| Characteristics of Irish Balladry |
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-originally unaccompanied solo singing until 60's
-vocals often highly ornamented
-mostly strophic
-meter: duple or triple or free
-common theme: hardship |
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| verses sung to repeating melody, no chorus |
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| an irish session is a formal performance intended for an audience |
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| traditionally, lyric sheets were used to learn Irish ballads but notated music was not |
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-mid 70's
-reaction against: middle-class values, mainstream culture, etc
-themes: rebelliousness, irreverence
-characteristics: appearance, sarcastic, violence etc.
-earned fans among working-class youth including Irish |
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initiated punk movement in U.K
-THE quintessential punk band |
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| John Lydon (Johny Rotten) |
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bandleader for sex pistols
-son of working class irish immigrants
-"god save the queen" |
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- most banned song in U.K's history
-released on 25th anniversary of Elizabeth II's coronation |
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-combined punk rock with elements of Irish traditional music
-"Pogue Mahone'" means "kiss my ass"
-leader Shane MacGowan
-"boys from country hell"
-formed in London in 80's |
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| Punk aspects of The Pogues |
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-Rock instruments (electric guitar, bass, drums)
-dress/appearance
-musical type (loud, disorted)
-subversion of social norms
-lower-class affinity |
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| Irish aspects of The Pogues |
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-instruments (banjo, whistle, accordian)
-some traditional songs and instrumental tunes
-lower/working class affinity |
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| What band was the first to combine punk rock with elements of Irish traditional music |
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| music with more than one simultaneous pulse |
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layered interlocking parts
WHY- group participation valued |
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-originated as war dance/music
for before (pump up) and after (celebration) battle
-now performed at funerals, cultural celebrations, american universities
-NOT A "PIECE" but a COLLECTION of songs and dance moves performed to standard drumming patterns |
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-very flexible
typical form:
-unaccompanied song, no drumming
-slow drumming, singing and dancing
-fast drumming, dancing
-solo dancing
-back to fast drumming, dancing |
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| length of sections of Agbekor |
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-uses drum patterns to signal other performers
-sometimes also signals specific dance steps |
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| How many instrumental parts are there in a typical Agbekor |
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| What is not a characteristic found in much West African music |
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| What are typical contexts for Agbekor performances |
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-before and after battle
-colleges and universities
-funerals |
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