Territory, Local Forms of Traditions Culture in World Music | MUEL 1832, Study notes of Music

Download Territory, Local Forms of Traditions Culture in World Music | MUEL 1832 and more Study notes Music in PDF only on Docsity! Alan P. Merriam: Three part model of music that describes sound, behavior, and concepts Sachs-Hornbostel system: classification of instruments based on their source:  Aerophones: The vibration of a column of air –flutes, trumpets, reeds  Chordophones: The vibration of a string –lutes, zithers, piano  Membranophones: The vibration of a skin or membrane –drums  Idiophones: The vibration of the instrument itself – rattles, shakers, bells Indigenous Peoples: Ethnic minorities who are marginalized as their territory becomes part of a state (lit. “born within”). - Maintain cultural heritage - Helps in the creation of ethnic identity - Can be used to criticize modern society Values: territory; local forms of traditional culture (religion, politics, the arts). Conflict: indigenous (local) vs. modern (national). Music is essential for:  maintaining heritage, language  criticizing modern society  creating ethnic identity  Natives of North America  Ex. A “Fast Cheyenne War Dance” o Voice: several voices ranging from hi-lo o Instruments: drums, jingles (membrano,idiophones) o Rhythm: steady, driving, occasional accents o Melodic shape: descending contour o Vocables: sung non-lexical syllables “heh” “yah” “ho” “weh”  Behavior: (what do you see)  Music for dance  Social gathering with other tribes  Gender: drum group (males)  Concept: (what does it mean)  Unified beat = unified community  War dance: originally for war; now tribal pride  Ex. B “Hopi Basket Dance” o Voice: several voices lower in pitch o Instruments: rattles, jingles (no membranophones) o Rhythm: steady, less driving, start/stop accents o Melodic shape: descending contour o Vocables: sung non-lexical syllables o Background: They would gather a laundry basket full of items, and make forays out into the crowd...their job was to throw all the items on a non- partisan basis into the crowd.  Contemporary Native American Music  Ex. C “My Country tis of Thy People You’re Dying” o Protest song that borrows from patriotic song “My country tis of Thee” o Intertextuality: The borrowing/ referencing of one text within another text, which allows the musicians to shape the meaning of one song by using another song  Aborigines of Australia  Aborigine: generic term for indigenous people; commonly used to refer to the indigenous peoples of Australia.  Animism: belief systems in which natural phenomena are considered to possess a spirit.  Dreamtime: term describing the aboriginal spiritual belief system and concept of creation.  Belief in ancient spirits that created earth features by singing them into existence.  Didjeridu : natural trumpet made from a hollow tree branch.  Circular breathing:technique used to maintain a continuous airflow in an aerophone.  Ex. D Traditional Didgeridoo - Tjapukai Dancers o Solo on didegeridoo o Note use of overtone o Rythmic accent o Starts w/ repeating ostinato  Ex. E “Proud to be Tjapukai Dancers” - Protest song against the long history of oppression by white civilization  African Music  Communality: African societies stress communal participation in nearly all aspects of daily life.  Functionality: music serves a social function; integrates the individual into the group.  Mbuti Pygmies: Pygmies: generic term for forest dwellers in Central Africa  Common features in African music: - Variety of timbre - Polyphony - Conversational singing and playning (call-response) - Ostinato: short, repeated patterns - Polyrhythm: simultaneous duple and triple meter  Ex. N Music of the Mbuti Pygmies – “Elephant Song” o Timbre: Variety of timbres “conversational” voices and instruments Call & response; speech-like o Rhythm: short repeating pattern (ostinato) o Pitch: multiple pitches simultaneously (polyphony) o Clapstick pattern: “sL-L-sL-”  West African Drum Ensembles:  Uses polyrhythm  Ex. O Forntomfrom – West African Drum ens. o Polyrhythm o Gongon bell pattern: L-L-L-sL-L-s o From: tall barrel shaped drum o Atumpan: medium barrel drum o Eguankoba: smaller barrel drum o Gongan: small bell  The Kora of West Africa  Kora: 21-string bridge-harp of West Africa -Commonly used by griot musicians (elite professional musician/storytellers) who preserve cultural history through music.  Master kora musician: Mamadou Diabate from Mali  Ex. P “Kora Mali” Kora music by Mamadou Diabate o Rapid, descending flourishes (birimintingo) o Flowing pattern (kumbengo) in which bass strings, medium pitch strings and high strings are interwoven.  Southern Africa  Mbira (Insturment): lamellaphone; an idiophone with metal keys that are plucked.  Vocal music: Migrant mine workers in South Africa formed vocal groups to maintain ethnic, regional ties in mining communities; singing competitions.  Mbube (lit. “Lion”): a vocal style named after a hit record by Solomon Linda.  Ex. R-1 “Mbube” (“The Lion”) – Solomon Linda’s Evening Birds (1939) o Intro: Bass voices begin to sing a phrase that becomes foundation for the song; listen how this phrase in the bass voices repeats through entire song. o A: Lead singer sings long, sustained note on a high pitch in falsetto “head” voice; shifts down to mid-range voice. Lead singer repeats this. o B: Lead singer begins a different vocal phrase that sounds like a shout. Lead singer repeats this phrase.  Ex S. “Homeless”– Paul Simon with Ladysmith Black Mambazo o Isicathamiya: new vocal style inspired by mbube o variety of timbres o call and response o ostinato patterns o Zulu language o Tongue trilling, ululation  Latin America