Glossary Adhi Talam Alapana Anupallavi Anuswarams Arohana Avarohana Bhajans Bindi Charanam Dikshitar Gamaka/Gamakam Ganesh Geetham

Transcription

1 Glossary Adhi Talam An eight beat rhythmic cycle with accents on beats 5 and 7. Alapana The improvisatory section at beginning of a piece Anupallavi The section of a Carnatic song that follows the pallavi Anuswarams Notes used in Carnatic music Arohana The ascending pattern of a raga Avarohana The descending pattern of a raga Bhajans Short devotional songs Bindi Spiritual ornamental makeup worn by Hindus Charanam The section of a Carnatic song after the anupallavi where shruti is used rather than lyrics Dikshitar One of the three Carnatic composer Saints Gamaka/Gamakam The term used for any ornamentation or sliding between notes used in a raga Ganesh A deity of the Hindu religion (is depicted with an elephant head) Geetham Simple structured songs learnt after beginning lessons Guru Teacher Gurukula Traditional system of teaching Jantai Varisai Exercises learnt in beginning Carnatic lessons Carnatic/Karnatic/Karnatak South Indian classical music tradition Keertanam The second level of songs learnt in the Carnatic tradition The Author(s) 2018 G. Barton, Music Learning and Teaching in Culturally and Socially Diverse Contexts, 207

2 208 Glossary The syllabic technique used in rhythm learning A deity of the Hindu religion (is depicted blue) Powder used to make bindi Violin bowing technique devised by Lalgudi Jayaraman A combination of notes to make a scale: C,d,E,F,G,a,B,C C,B,a,G,F,E,d,C. A combination of notes to make a scale: C,D,E,G,A,C C,A,G,E,D,C. A two headed drum used in Carnatic music The first section of a Carnatic piece Hindu ceremony that gives respect to the deities The ascending and descending order of notes employed in composition and performance Ancient Indian language Student Notes One of the three Carnatic composer Saints Notes The cyclic rhythm a major feature of Indian music One of the three Carnatic composer Saints Konnakal Krishna Kunchum Lalgudi bowing style Mayamalavagowla Raga Mohanam Raga Mridangam Pallavi Pooja Raga Sa, Ri, Ga, Ma, Pa, Da, Ni, Sa Sanskrit Shishya Shruti Shysastry Swara/svara Tala Tyagaraja

3 Index A Ableton Live, 112 Achievement, 48 Acquisition, 3 Adhi talam, 88 Administration, 175 Advanced students, 175 Aesthetic contribution, 31 Aesthetic experience, 32 Alapana, 97 Ancient and modern societies, 49 Anupallavi, 97 Appreciation, 69 Architectonic designs, 50 Arm gestures/movement, 49 Artefacts, 30 Articulation, 49 Audiation, 69 Audience, 26 Aural activities, 155 Aurality, 13, 14 and sound, 49 Australia, 15 Australian Indigenous culture, 29 Australian Music Examinations Board (AMEB), 70 Authenticity, 3 Authentic practices, 191 Authors/creators/composers, 50 B Balinese children, 60 Balinese culture, 60 Balinese gamelan, 60 Bharata Natyam, 86 Body language, 13 Body movements, 49 Brahmin, 169 Buddhist, 173 The Author(s) 2018 G. Barton, Music Learning and Teaching in Culturally and Socially Diverse Contexts, 209

4 210 Index C Carnatic music, 15, 63 tradition, 16 Carnatic musicians, 141 Carnatic violinists, 95 Caste system, 169 Ceremony, 34 Charanam, 97 Chennai, 15, 86 Classrooms, 17 music, 6 Cohesive devices, 50 Collaborative process, 198 Commodified knowledge, 53 Communities, 25 and identity, 72 of practice, 72 Composers, 26 Computer keyboard, 157 Creativity, 69 Culture, 3 borders, 181 customs, 26 determined expectations, 28 diverse backgrounds, 17 diversity, 203 exclusive repertoire, 177 expressions, 27, 59 influence, 25 knowledge, 25 linguistically diverse backgrounds, 3 participation, 203 responsive, 205 social circumstances, 33 social cohesion and identity, 5 social context, 5 social effect, 15 social forces, 15 socially responsive pedagogies, 4 tradition, 47 Cutting and pasting, 158 Cyclic, 60 D Daft Punk, 158 Dance, 86 De-institutionalised, 9 Demonstration, 148 Digital immigrant, 179 Diksitar, Muttusvami, 118 Disciplinarity, 45 Divergent practices, 59 Diversity, 6 Divine Mother, 168 DJing, 181 Drummers, 141 Dual-channel multimedia learning (DML), 157 Dynamics, 51 E Economic forces, 177 Economic influences, 177 Economic issues, 181 Ecosystems, 26 designs, 50 Educational perspectives, 16 Educational settings, 5 Effective learning, 47 Electronic instruments, 169 Electronic keyboard, 157 Elemental approach, 28 Elitism, 68

5 Index 211 Elitist, 177 Embodiment, 13 Emotion, 49 Emotional arousal, 49 Empathy, 48 Enculturation, 25, 47 Enlightenment, 140 Ensembles or bundles of modes, 14 Environment, 14 Ethnomusicologists, 6 Ethnomusicology, 6 Eurocentric, 30 External examinations, 155 F Facebook, 72 Facial expression, 13 Facilitators of knowledge, 53 Field, 49 FL Studio, 112 Folk, 195 Formal learning, 5 Funds of knowledge, 46 G Gamaka, 96 Gamelan, 14 Ganesh, 167 Geetham, 97 Gender, 47, 172 Generative practices, 47 Geographic designs, 50 Gestures, 13, 14 instructions, 61 movement, 49 Globalisation, 24, 72, 181 God, 167, 169 Goddesses, 169 Godliness, 171 Grammar, 49 Great composers, 14 Group learning process, 61 Guru, 63 Gurukula, 63 H Haptics, 158 Harmonium, 86 High cost, 177 Hinduism, 169 Hindu religion, 63, 163 Hindustani music, 63 Hindustani songs, 119 Humanly organised sound, 27 Human right to education, 203 I Icon, 14 Image, 14 Imitation, 44 Immersion, 10, 60 Impregnation, 59 Improvisation, 141 Inclusive, 69 Inclusively and interculturally, 201 India, 15 music, 61 Indigenous and Pasifika students, 4 Individual capabilities, 203 Individual tuition, 170 Informal learning, 5 Inherent and delineated meaning, 35

6 212 Index Innovative music practices, 24 Innovative music praxes, 8 Institutionalised learning, 52 Institutionalised settings, 4 Instrumental music teaching, 15 Instrumental teaching, 10 Instrumentation, 48 Interaction effect (IE), 49 Intercultural approaches, 68 Intrinsic, 15 Inuit, 61 J Jantai Varisaigal, 98 Jazz, 195 K Keertanam, 97 Keyboard shortcuts, 158 Kodaly, 46, 70 Konnakkol, 103 Kreutzer, 108 L Language, 24, 49 Layers of sound, 157 Learning environment, 47 Lineage, 169 Linear process, 53 Linguistic mode, 13, 14 Linguistic resources, 49 Listener, 48 Literacy, 35 Low socio-economic, 127 Lyrics, 138 M Main effect (ME), 49 Massive Open Online Courses (MOOCs), 72 Matriculation school, 116 Mayamalavagowla raga, 87 Meaningful knowledge, 157 Meaningful music experiences, 72 Meaning of music, 24 Melbourne Declaration, 203 Melody, 66 Memorisation, 44, 61, 99, 139 Mental representation, 157 Metacognition, 47 Metal music, 8 Methodology, 125 Micro-muscular technique, 150 Midi compatible keyboard, 181 Mixer, 157 Modes, 3 of communication, 3, 15, 17, 135 of transmission, 3 Mohanam raga, 97 Motivation, 47 Mridangam, 94, 142 Multicultural, 10 Multi-instrumentalist, 112 Multilingual, 117 Multimedia formats, 72 Multimodal, 7, 10 Music, 3 ability, 46 behaviour, 25 composition, 190 as culture, 27 is culture, 27 education, 5, 17

7 Index 213 educators, 4 elements, 28 experience, 26 genre fusions, 8 genres, 47 instruction, 64 knowledge processes, 7 knowledges, 4 learners, 6 learning and teaching, 3, 135 pieces, 147 practices, 3 production, 44 scores, 51 teachers identities, 45 technology and composition, 15 traditions, 25 tuition, 177 understanding, 48 work, 5 Music Education as Aesthetic Education (MEAE), 32 Music-making, 28, 32 Musicology, 50 Muso-cultural contexts, 16 N Non-formal learning, 52 Non-Government Organisation (NGO), 116 Non-music, 189 elements, 31 messages, 173 Non-verbal knowing-in-action, 34 Non-western, 24 Notation, 65, 141 O Object of worship, 51 Online environment, 15 learning communities, 72 learning environment, 181 media and platforms, 178 platforms, 181 Orff or Dalcroze methods, 148 Organisation for Economic Co-operation and Development (OECD), 52 Organised sound, 5 Ornamentation, 141 P Pallavi, 97 Participatory aural, 69 kinesthetic, 69 visual, 69 Pedagogical content knowledge, 45 Performance, 26 techniques, 28 Performers, 26 Personal agency, 115 Personal epistemologies, 45 Physical technique, 14 Picture, 51 Pitjantjatjara, 62 Plug-ins, 157, 179 Popular, 195 Porta time, 158 Positioning, 50 Positive reciprocity, 159 Posture, 13 Pragmatist view, 67

8 214 Index Preservation and maintenance of the tradition, 64 Printed music, 64 Private tuition, 175 Processes, 15 Process of learning and teaching, 7 Professional performers, 128, 172 Q Queensland, 15 R Raga (scales), 66 Realistic or abstract images, 50 Receptive aural, 69 kinesthetic, 69 visual, 69 Referential connections, 157 Relationships, 15 Religious significance, 60 Remuneration, 174 Repertoire, 156 Repetition, 139 Reputation, 191 Rhythm, 66 Roadmap for Arts Education, 203 Rote learning, 44, 139 S Saints of Carnatic music, 118 Sarasvathi, 87, 167 Sastri, Syama, 118 Schools, 5, 17 environment, 53 Self-esteem, 47 Self-realisation, 105 Semiotic bundles, 51 Sensory ways of communicating and receiving information, 13 Shishya, 64 Shrine, 167 Shruti, 138 Sibelius, 129 Signature pedagogies, 45 Smartphone and touchscreen technology, 72 Social implications, 8 Social institutions, 28 Socialisation, 45 Social learning theory, 72 Social meanings, 28 Social practices, 28, 47 Social structure, 26 Society, 3 Socio-cultural aspects, 47 Socio-cultural conditions, 201 Socio-cultural elements, 163 Socio-cultural meanings, 28 Socio-cultural norms, 8, 27 Socio-cultural practices, 17, 135 Software programs, 72, 181 Sol-fa, 87 Song structure, 26 Sound effects, 179 production, 151 South India, 16 South Indian Carnatic music, 63 Spatial design, 50 Spatially, 14 Spatial mode, 13, 14 Spatiotemporal characteristics, 49 Specialised knowledge and skills, 45 Speech, 14 Spiritual connection, 168

9 Index 215 Spiritual significance, 31, 47 Sri Tyagaraja, 118 Stance, 13 Storytelling, 13 Strategies, 59 Students, 6 Sub-genres of music, 9 Suzuki, 70 Swara (notes), 66 Symbol, 14 Symbolic form, 69 Symbolic meaning, 32 Symbolic representations, 51 Systemic functional linguistics, 49 T Tala (rhythm), 66 Tamil, 117, 169 Teacher-centred, 6 Teachers beliefs, 15 Teacher-student relationship, 47 Teaching and learning environments, 23 Teaching context, 17 Teaching methods, 15, 17, 135 Techniques, 125 Technological literate, 179 Technologies, 46, 72 Tenor and mode, Textbooks, 154 Theoretical aspects, 155 Theoretical concepts, 155 Theory, 110 Theory of music, 110 Theory worksheet, 154 Time-dependent, 60 Touch sensitivity/haptics, 158, 179 Tradition, 3 Transcended, 10 Transcendence, 34 Transculturalisation, 181 Transferring music knowledge, 15 Trinity College, 106 Twenty-first century, 178 Tyagaraja, 95 V Valence and potency, 49 Venda, 60 Verbal communication, 173 Verbal/written language, 14 Verification process, 33 Videos, 72 Viewer/reader/listener, 50 Violin bowing technique, 150 Visual mode, 13, 14 Visual representation, 64 Visual resources, 51 Visual symbols, 14, 51 Vocabulary, 49 Vocalise, 103 Voice percussion, 103 W Web pages, 72 West-centric perspectives, 6, 29, 68 Western art and popular music, 15, 195 Western classical music tradition, 4 Western education context, 147 Worship, 140 Written scores, 14 Y Yolgnu, 62 YouTube, 71