World Music Study Guide Exam 1

MUNM 3113 Prof. Arana World Music Study Guide Exam 1 RHYTHM Rhythm: Time-relation among succession of sounds. Meter: Groups pulses into recurring patterns of strong and weak beats Ostinato: Interlocking, repeating parts that create multiple accents and a shifting sense of meter (in much African traditional music) Pulse: Regularly occurring beats of equal weight. Syncopation: The accenting of off-beats, which generate rhythmic excitement. Tempo: The speed of the music. 4 Types of rhythm 1. Free rhythm: A rhythm without a recurring accent pattern. 2. Even-pulsed rhythm: All beats are stressed the same with one beat. 3. Metrical rhythm: A rhythm with a regularly recurring accent pattern. 4. Polyrhythm: Simultaneous sounding of multiple rhythmic frameworks. Meters Duple meter (2/4): Alternating strong and weak stressed beats (e.g. marches) Triple meter (3/4): Beats grouped in threes with a stressed pulse on one. Compound meter: Larger groupings of beats divided into regularly occurring patterns of strong and weak (e.g. track 16) o Compound duple (6/8): Two beats divided into three equal parts o Compound triple (9/8): Three beats divided into three parts o Compound quadruple (12/8): Four beats divided into thee parts Poly meter: The use of different meters overlapping each other. 5, 7, 10, 11 beat meter MELODY Pitch: The frequency of a tone. Octave: Two tones, of which the frequency of one is precisely twice that of the other. Interval: The distance between two tones (pitch relationships). Emphasis: The way major tones of the melody are approached/handled, and this adds feeling (vibrato, trills, grace notes). Vibrato: Vibrate the sound to add fullness. Scale: An ordered, stepwise arrangement of tones within an octave (subdivisions of the octave). We have Major and Minor scales (happy and sad). Tonic: The basic tone, to which the melody seems to be gravitating. Raga: A set of organized melodic matrix inside of which the south Indian singer or musician improvises melodically in performance. Vocables: Syllables that do not make up words

TIMBRE Timbre: The quality of sound of an instrument or voice (tonal quality or color). Aesthetics: A branch of philosophy concerned with ideas of beauty, pleasure, enjoyment, form, and affect. Affect: The powers in an object or experience that make a person feel something in response. Portamento: A slide Overtone series: The overtones of the series that resonate along with the fundamental pitch determine the timbre of the sound. Organology: The study of musical instruments Pa Yin: An eight-part system Musica Mundana: A three-part system. Influence of the timbre 1. Material 2. Method of generating sound 3. Technique 4. Aesthetic choices The Sachs-Hornbostel system 1. Aerophone: Instruments where columns of air vibrate. 2. Chordophone: Instruments where stretched string vibrate 3. Membranophone: Instruments where stretched material or membrane vibrate. 4. Idiophone: Instruments where the object itself vibrate. 5. Electrophone: Instruments where something electrical vibrate. HARMONY Harmony: Simultaneous sounding of two or more pitches, and it is directly related to texture. Chords: Tones that sound simultaneously. Drone: An unchanging tone or group of tones sounding continuously, against which the melody moves. A drone is not a melody. Falsetto: A high voice that comes from the head rather than the chest. Types of harmony 1. Consonant harmony: Perfect harmony, which sounds pleasant, involving compatible tones. 2. Dissonant harmony: Not a perfect harmony, which sounds edgy or restless. TEXTURE Texture: Structure, method, and the density of sound. Musical texture: 1) The organization of music into one or more simultaneously sounding parts, and 2) the ways in which these parts relate to each other.

Categories of musical texture 1. Monophony: A single melody (music in one part). 2. Heterophony: Two or more voices/instruments elaborating the same melody in slightly different ways (variations of the same musical line). 3. Polyphony: A combination of two or more distinct melodies (multi-part music). 4. Homophony: A dominant melody with accompanying harmony (multi-part with one dominant part). FORM Genre: A named, standard unit of the repertory. Musical phase: A small series of musical tones that is understood as a meaningful group or unit. Musical style: The way music sounds are organized, according to a group s aesthetics. Alap: A characteristic slow opening section for North Indian music performances. Tail: The last brief section of a song. Musical form: The structure of a musical piece or performance: how it is put together and how it works. Call-and-response: A musical form, e.g. work songs, religious usage, and musical conversations. 12-bar blues: Strophic form (made up of stanzas or verses, and each stanza uses the same overall musical structure). 3 Musical forms 1. Binary form: Music in a two-part structure (AA BB) 2. Ternary form: Music in a three-part structure (A B A) 3. Sonata form: Music in a three-part structure (exposition, development, recapitulation). MUSIC-CULTURE Culture: The way of life of a people, transmitted from one generation to the next. Material culture: Material objects that people in a culture produce. Bosnian Ganga: Group singing characterized by very close harmonies, which cause the voices to acoustically beat or clash against each other. Repertory: A stock of music that is ready to be performed, and a music culture s repertory is what most people think of as the music itself. 4 components of a music culture 1. Ideas about music (belief, aesthetics, contexts, history) 2. Activities involving music 3. Repertoires of music (style, genres, texts, composition, transmission, movement) 4. Material culture of music Style: Includes everything related to the organization of musical sound itself. Pitch elements: Scale, melody, harmony, and tuning systems Time elements: rhythm and meter Timbre elements: Voice quality, and instrumental tone color Sound intensity: Loudness/softness

UNIT 1 CD: ELEMENTS OF MUSIC 1. Tsuru No Sugomori (Japanese Shakuhachi) Free rhythm Heterophony Rhythm determined by flute player s breath From the Buddhist culture Ma the void where potential exist 2. Fiddle Solo (Irish) Free rhythm Monophony Rhythm determined by bow length 3. Roisin Dubh (Irish sean-nós-style lament) Free rhythm Monophony Female voice 4. Amazing Grace (USA) Free rhythm Rhythm determined by lead singer Choir accompanying the lead singer 5. Pole Dance Song (Native American / Navajo) Even pulse Homophony non-pitched rhythm Navajo 6. Jor in Rag Kamod (Sitar improvisation, North India) Even pulse Homophony drone String instrument (one is the leading one, and a tanpura) 7. Stars & Stripes Forever (USA / John P. Sousa) Duple meter March song Downbeat on 1 (1 2 1 2 1 2 1 2) 8. Scotland the Brave (Scottish March) Duple meter Homophony drone March song The bagpipe is the leading instrument 9. Rosie (prison work song: USA) Duple meter Blues Call-and-response Lead voice accompanying voices answer 10. Ain t Enough Comin In (USA / Otis Rush) Duple meter Homophony chords, ostinato, harmony Drums " Ostentation pattern 12-bar-blues 11. Jingle Bells (USA: Ella Fitzgerald) Duple meter Homophony chords, ostinato, harmony Piano (ignores downbeat)

12. Gum Tree Canoe (waltz) Triple meter Heterophony (voices and string instrument) String instruments violin Voices sing, same melody, different tones 13. Welsh Song (waltz) Triple meter Polyphony 14. Tar Road to Sligo (Irish Jig) Compound meter duple First note is downbeat 15. The Ivory Flute / Straddle the Donkey / Visit to Ireland (a set of 3 Irish Jigs) Compound meter duple Flute as lead instrument, with string instrument accompanying 16. Meg Gray / Sweetbriar (a set of 2 contra dance reels) Compound meter triple String instrument and drums 17. Pint of Reference (Irish Slip Jig) Compound meter triple (9/8) Homophony (flute instrument and string instrument) 18. Vamos Pa Manabi (Bombo from Ecuador) Poly meter The two string instruments play different melodies 19. Talavadya Kacceri: Eka Tala (South India / percussion & voice) 5-beat meter (5/8) 1 2 1 2 3 20. Take Five (USA / Dave Brubeck Quartet) 5-beat meter (5/8) Jazz saxophone as lead instrument Several downbeats 1 2 3 1 2 21. Macedonian Oro in 7/8 time (From Flook) 7-beat meter (7/8) 1 2 3-1 2-1 2 22. Samai Lami (Arabic Classical Music) 10-beat meter (10/8) String instrument and drums Two compound beats and two simple beats 1 2 3-1 2 3-1 2 3 4 23. Hristianova Kopanitsa (Ivo Papsov, Wedding music / Bulgaria) 11/8 (2+2+3+2+2) 11-beat meter (11/8) 1 2 1 2 1 2 3 1 2 1 2 24. Chidori (Japanese Shakuhachi, Koto, and Voice) Heterophony Free rhythm Flute and string instrument Rhythm determined by breath 25. Mountain Road (Irish Reel) Heterophony Duple meter Binary 26. Vocal Improvisation in Adi Tala (South India) Homophony drone

Voice technique Voice is the lead singer 27. Alima Girls Initiation (Uganda) Polyphony Ostinato Call-and-response Individual singers provide variations 28. Bach Fugue in G minor Polyphony Starts as monophony, then polyphony when second piano comes in Several downbeats 29. Potato Head (Louis Armstrong and his Hot Seven) Polyphony Jazz Tuba on downbeat 1 2 1 2-1 2 3 4 30. Oya s Song (Ubaka Hill) Polyphony rhythmic polyphony 31. Hassanbegura Polyphony Eastern Europe Drinking song Sang by men sitting by the table

MUNM 3113 Prof. Arana Study Guide Exam 2: Africa Vocabulary TUBS notation: Time Unit Box System Ostinatos: repeated rhythmic and melodic cycles Interlocking parts: absence of a common guide pulse as a reference point Polymeter: multiple melodic parts performing at once Ewe / Agbekor Tradition (tracks 2 & 3) Ewe history and culture Ewe: minority ethnic group in Ghana and Togo with a reputation as warriors, extended family-based social order, and spiritual view of music that attributes fortune and talents to ancestral spirits creators of the Agbekor music Yoruba: sing about the immigration from Nigeria to Benin to between Ghana and Togo Triumph over adversity is an important theme in their oral history The important unit of Ewe social life is lineage the extended family Mawu: the Ewe supreme, that is remote from the affairs of humanity Se: embodies God s attributes of law, order and harmony, Se is the maker and keeper of human souls, Se is destiny The ancestor whose spirit they have inherited is the source of the Ewe musicians talent; destiny is the reason why they are so involved in music making In Ewe music-culture, most music and dance is learned through enculturation, but Agbekor requires special training because of its complexity Agbekor Agbekor is a form of music created by the Ewe people means clear life The original occasion for a performance used to be war, but is now adapted to non-war purposes, such as funerals due to passions aroused by death This drumming style was learned by Ewe hunters from monkeys (legend) A complex lead drumming part rides on a rich polyrhythmic texture established by an ensemble of bells, rattles, and drums Makes use of language tonality to speak with drums An Agbekor group practice for up to a year before they perform, and perform one specific style, unless they are professional Agbekor ensemble: consist of a rectangle within a circle, traditionally composed of 10 male drummers, 15 male dancers, and 15 female singers The dances are rigorous through dancing and singing These days, most Ewes value their traditional repertory of music and dance as cultural resource Young people often join groups because rehearsals and performances are social opportunities

Agbekor instruments Gankogui (double-bell) o The time-keeper Axatse (gourd shaker) o Mark four equal units within each bell-phrase o Played by many people at once vital to the ensemble s energy Kaganu (baby drum) o The textural density (silent-stroke-stroke) o High pitch and dry timbre Kloboto & Totodzi (twin brothers) o Kloboto add multidimensional quality with a brief bounce-press o Totodzi match bell tones and four-feel beats Kidi (mother drum) o This part has three bounces and three presses Atsimevu (master drum, father) o Improvisation and cues Agbekor performance and music features An Agbekor group consist of drummers, dancers and singers Agbekor follows a definite pattern, however it s not rigidly formalized Agbekor is a group effort music and dance help cement social feeling among members of an Agbekor society Sections o Adzo: introductory section (short sections) o Vutsotsoe: fast drumming o Adzokpi: dancing in front of lead singer o Vulolo: slow drumming o Vutsotsoe: up-tempo section o Adzokpi: solos section Texts o Subject of war o Celebrate the invincibility of Ewe warriors o Urge courage and loyalty o Reflect on death and express grief Structure o Call-and-response o Singers intonation is aimed at pitch areas rather than precise pith points

Mbira Tradition (tracks 4-10) History The Shona make up more than 95% of the country Since ca. 800 C.E, kingdoms of the Shona (and neighbors) have ruled large territories, but in the 1800s the large-scale Shona states faded under pressure from other African groups, and became more decentralized, agricultural people Zimbabwe was formed in 1980 (previously referred to as Rhodesia) Music was a part in the struggle, where popular and traditional songs with hidden meanings helped galvanize mass opinion The mbira became a positive symbol of cultural identity Robert Mugabe is the president of Zimbabwe, and is very corrupt rigged elections and is a dictator Cecil Rhodes: admired in the white community The repertoire of Shona is stable over many generations Shona spirits From the perspective inherited from the Shona ancestors, four classes of spirits affect the world: o Spirits of chiefs (mhondoro) o Family members (mudzimu) o Nonrelatives or animals (mashave) o Witches (muroyi) The spirits have sensory experience, feel emotions, and take action to help and advice their beloved descendants Mbira helps connect the living with their ancestors, communicating by means of possession trance, where a spirit enters a body of a living body, temporarily supplanting his/her spirit the spirits love to hear their favorite pieces The mbira Thumb piano used for healing a performance usually include hand clapping, singing, and a driving rhythm played on a pair of gourd rattles (hosho) The mbira is tuned to a 7-pitch scale over a range of 3 octaves 4 features of construction o A set of long, thin keys made of metal or plant material o A soundboard with a bridge that holds the keys o A resonator to shape and amplify the sound of the plucked keys o Jingles that buzz rhythmically when the keys are plucked Chuning refers to interval configurations, qualities of tone, sound projection, pitch level and overtones In performance, the mbira is placed within a large gourd resonator that brings out the instrument s full tone Bottle cap rattles or snail shells attached to the soundboard adds extra timbre The keys are symbolically linked with features of culture Each key emits a fundamental pitch and a cluster of overtones The mbira takes on a life of its own Complex repeating cycles of harmony, melody, rhythm and counterpoint, where each phrase requires three repetitions of the four-pulse pattern Improvise over normal chord progression built on a repeating pattern

2 interlocking parts of a piece: creates a wonderfully multilayered sound Kushaura: the first part of the mbira that the lead player plays Kutsinhira: the interwoven second part of the mbira (acts as a counter melody) 3 vocal styles: adds depth to the musical texture and richness to the meanings expressed Low: soft style, pitched syllables Yodel: high-pitched yodels that express feelings that can t be vocalized Text: sung or spoken deep shora poetry and improvised text Thomas Mapfumo & Chimurenga music Grew up in a rural area and played the mbira Learned guitar and played cover tunes of the Beatles Started singing pop songs in the Shona language and put political ideas in his music inspired the revolution In the early 1970s, he began writing more serious lyrics Chimurenga the struggle fighters He named his music after the fighters Recreated the mbira ensemble with modern instruments Erica Azim Went to Zimbabwe to learn to play the mbira Convinced master mbira people to teach her She would play mbira at ceremonies, where people got possessed, which is like the stamp approval as a mbira player o Repetition is key

Mande / Jaliya Tradition (tracks 11-15) History Sunjata Keita: founded the empire of Mali in the 13 th century (south of Sahara) Mali was a wealthy, centralized, hierarchically organized empire with distinct social classes Mande jalolu: professional sound artisans of the Mande ethnic tradition - their duty was to serve their elite patrons, and transmit these ancient, secret mysteries to every member of the society Griot: praise singers (counselors to royalty, entertainers for public and guardians of history) In this music-culture, gifts to a jali respectful offerings to mark the interdependence of praiser and praised After 1600, the Sudanic empires experienced forces of change, which included internal rebellion Kingdoms developed at the western edge of the Mande heartland, and a distinctive music-culture of jali with kora developed in these kingdoms along the Gambia Today, the Mali empire people are scattered around between several countries Music culture The class you are born in is the class you stay in boys inherit their father s craft as a lifelong profession; young women marry within their fathers occupational group Their last name shows their social status and class After The Gambia became a British protectorate in 1894, the music culture changed - wealth of the royals are reduced, and their patronage alone couldn t sustain a jali Today jalolu must serve a broader clientele by freelancing at social occasions A jali learns the craft of playing a musical instrument in an apprentice-master relationship during adolescence and young adulthood, Young women s primary duty is to sing, and they participate in a more informal apprenticeship The Jali s knowledge o A key element in jaliya is speech o Narratives in Gambian tradition refer to 2 historical periods: 1) the times of Sunjata Keita and the formation of Mali (1200s), and 2) the times of the last mansas (1800s) o Songs contain wise sayings about people and situations that are always relevant to the living Social classes Wobility Merchants Skilled artisans (Jalolu/Griots) Farmers/Laborers Slaves

Instruments Balafon a type of xylophone Kora a spiked bridge harp used mainly to accompany praise songs Xalam banjo-like long-necked lutes Playing styles Kumbengo (instrumental ostinato): o Ostinato played on the strings of the kora, which is a basic pattern that establishes the tonal and metric framework of a piece when it is repeated with subtle variation accompanies the vocal style donkilo o Small changes to the kumbengo are made to give the music interest Birimintingo (instrumental passages): o Virtuosic passages that provide interludes between vocal sessions o More extensive ornamentation and improvisation Vocal styles Donkilo: tuneful singing with several phrases of text call to dance Sataro: open-ended, extemporaneous, passage of spoken or chanted text (less melodic vocal passages) Salif Keita From Mali Born in a noble family, but because he is albino, he was sent to a foster home with Griots Famous singer

Generalizations about African music culture Music-making events African music often happen in social situations where the primary goal is not artistic, but for ceremonies (life cycle rituals, festivals), work (subsistence, child care, domestic chores, wage labor), or play (games, parties, love making) Postal workers: work song to lift the workers mood Ewe/Agbekor: ceremonies war, funerals (life cycle rituals and subsistence) Shona/Mbira: healing purpose possession trance (life cycle rituals) Mande/Jaliya: entertainment Multimedia expression Just as Africans set music in a social context, they associate it with other expressive media, such as drama, dance, poetry, costuming and sculpture, and esthetic qualities are valued Ewe/Agbekor: drumming, dancing, singing Shona/Mbira: hand clapping, gourd rattles, mbira and song (low, yodel, text) Mande/Jaliya: balafon, kora, and song (donkilo, sataro) Musical style African stylistic features polyrhythm, repetition and improvisation Postal workers: the melody has European qualities, such as duple meter, a major scale, and harmony, and whistling Ewe/Agbekor: call-and-response, repetition, polymetric overlapping Shona/Mbira: polyphonic and polymetric, repetition, improvise over normal chord progression Mande/Jaliya: metrical rhythm, improvisation History Music-cultures of Europe, Asia, and America have had strong impact in Africa Foreigners have brought Africa their instruments, musical repertories, and ideas Ewe/Agbekor: minority group from Ghana and Togo, warriors Shona/Mbira: 95% of country, Zimbabwe Mande/Jaliya: Mali empire, social classes Participation Much African music share the generous, open-hearted quality that welcomes participation Ewe/Agbekor: group effort, participation with dancing Shona/Mbira: participation with hand clapping and song Mande/Jaliya: creative participatory listening, hand clapping Training A musical education depends on a society-wide process of enculturation Africans learn a way-of-being in response to music Ewe/Agbekor: groups practice for about a year Shona/Mbira: hard to learn, mostly men Mande/Jaliya: apprentice-master learning Beliefs and values Often, Africans conceive of music as necessary and normal part of life Ewe/Agbekor: spiritual view, ancestors and destiny Shona/Mbira: shona spirits, mbira takes a life of its own Mande/Jaliya: performance: historical & mythic past into the lives of the living Intercultural misunderstanding A non-african listener assumes is an item of music may be the voice of an ancestor to an African; sounds like music but they might not think of it that way

Listening Examples Ghana: Agbekor 1. Postal Workers (Ghana) This track exhibits the general characteristics of the music and music-culture of Sub-Saharan Africa 2. Agbekor (5 songs) This track is a field recording consisting of 5 songs for a funeral, featuring 3 different rhythmic styles: 3 slow-paced, 1 free-rhythm and 1 fast paced. - Song 1 announces that people should prepare for the arrival of the Agbekor procession - Song 2 urges Manyo and his warriors to be cunning - Song 3 celebrate the singer s power and denigrating the opponent - Song 4 compares the Agbekor group s strength with the power of the ocean and derides the potency of the enemy s weapons - Song 5 opens with the vivid image of a confrontation between two war gods. The warriors are preparing 3. Demo of Agbekor rhythms This track features the double bell part as it relates to each instrument in the Agbekor ensemble. It presents the instruments in the following order: bell and shaker, bell and baby drum, bell and mother drum, bell and 1 st twin brother, bell and 2 nd twin brother, and then all the instruments except from the master drum, which doesn t play a repeating pattern. Each instrument experiences and interacts with the bell pattern individually. The bell corresponds to a 4- and a 6-beat meter. The shaker and baby drum have a call-and-response relationship, where the shaker is the A, and the bell is the fri-ca in A-fri-ca. This is a compound duple rhythm that establishes the strong 4-beat compound meter in the ensemble. Mbira Tradition of the Shona 4. Taireva This track features buzzing timbre of the mbira 5. Nhemamusasa 1 This track starts with one mbira playing the kushaura part until 0:47, when the second mbira joins in with the kutsinhira part. Together they create a rich polyphonic and polymetric sound. The music becomes more danceable with the addition of the solid compound duple meter of the hosho at 1:46. 6. Nhemamusasa 2 This track features clapping patterns and participatory vocalizing, as well as yodeling by the main singer. 7. Nyamaropa This track features alternating yodeling and low-pitched vocal syllables. 8. Mbiriviri This track features yodeling as well as sung and spoken text. 9. Thomas Mapfumo: Shumba This track features two guitars and a bass guitar playing the kushaura and kutsinhira parts from the mbira tradition. The high hat on the drum set is playing the hosho part. Mapfumo sings, and adds some of the low-pitched vocal.

10. Thomas Mapfumo: Nyarara Makudzi Wangu This track features the same as track 9, with the addition of the clapping patterns, yodeling, and spoken text that are commonly associated with the traditional mbira genre. Jaliya Tradition of the Mande 11. Sorrie This track features balafon with vocals. The balafon starts with birimintingo, and then establishes the metrical rhythm of the kumbengo part. The voices start with pre-composed, singsongy donkilo, and after a birimintingo break, a solo voice sings improvised, melismatic, more intense sataro style this followed by the donkilo 12. Sinyaro This track features kora with vocals. The kora starts with birimintingo, and then establishes the metrical rhythm of the kumbengo part. The voices start with pre-composed, singsongy donkilo, and after a birimintingo break, a solo voice sings improvised, melismatic, more intense sataro style this followed by the donkilo 13. Lambango The repeating pattern of the kora and konkon establish the tonal and rhythmic context for the song. A male, who plays the kora, and provides spoken commentary in the form of affirmation and elaboration, supports the main female vocalist. Celebrates 3 20 th century leaders praise lyrics 14. Salif Keita: Mandjou A song in praise of the Griots of Mali. 15. Salif Keita: Mandela A song in praise of Nelson Mandela (he counts the 27 years of Mandela s imprisonment. 16. Salif Keita: Africa A song celebrating all of Africa. 17. Salif Keita: Seydou This song features the balafon. 18. Salif Keita: Dakan-Fe This song has a reggae beat.

MUNM 3113 Prof. Arana Study Guide Exam 3: Native American General Characteristics of Native American Music Currently about 535 tribes Navajo: largest tribe in the US, strong tradition, but also open to new ideas Traditionally, music serves as a mediator between man & the supernatural world Songs are not composed, but given to them by guardian spirits in dreams/visions The music is measured by its ability to integrate into society, ceremonial and social events, represent it to the outside, and its supernatural power Vocal music with no multiple parts, almost monophonic (strophic songs) Short songs sung in large groups, one or two lines repeated many times Falsetto: vocal range for the man is almost like opera Vocables (pulsations, pushes, slides) Common instruments: voice, drums, rattles, crappers, and flute Plains Indians (track 1) Blackfoot, Arapaho, Cheyenne, Comanche Abundant natural resources, and are not in conflict with other people Permanent settlements because they have no need to travel and find resources Stomp dance community were forced out of E. Woodlands and moved into OK Celebrate and give thanks to the lord through music (hymns) Euphoric reward after performing the dance for hours, people outside the tribe aren t welcome Large-double sided skin drums Music is nasal, with high pitches and frequent falsettos, repetition, no regular meter, powwow music, sharp emphasis, pulsation & glide Sioux Grass dance: toe-heel movement, war dance, sleigh bells, jingle dancing Eastern Woodlands Indians (track 2-3) SE Creek, Cherokee, Iroquis (between Mississippi river & Atlantic) Flat, dry land with bison/buffalo that migrates, so they had to travel with it Compete with other tribes for the same resources War dances & War mentality Honor the warriors, they take the scalps and het the hair of others that they killed and it flies around when they dance Huge drums because the bison skin can cover a large area Everyone bangs together and there are no interlocking parts - one strong powerful sound that is even pulsed is the HEARTBEAT of the people Quiver dance (Warrior s Stomp dance song) Call-and-response, more relaxed Southwest Indians (track 4-6) Navajo reservation: more than 200,000, largest tribe Dry desert with not a lot of bison, spent a lot of time praying for good weather because they can irrigate land, but they have to be sedentary because of this Long complex ceremonies enemyway (curing, ghosts), nightway (curing, gifts) Large melodic intervals, tense vocals using pulsation and falsetto, shouts Ancestor, religious, bold experiments in artistic forms Circle Dance, Sway, Two-step, Skip Dance, Gift songs Alaska Indians (track 7) Throat singing

The Modern Powwow (track 8-12) The Poncas were the first to practice this ceremony Intertribal gathering and a celebration of culture Historically, tribes in NA held ceremonies celebrating successful hunts, food gathering or warfare Performance of traditional and modernized music & dance; healing ceremony Drum is sacred (their heartbeat) Double-headed drums with single skin & container rattles Regalia: an outfit that includes special emblems and symbols Powwow is in the hands of those who are practicing it rather than their ancestors they make it more fun and relevant Northern style: Higher pitching falsetto Southern style: Moderate Personnel MC/Emcee: master of ceremonies - controls and sets the tempo Arena director: keeper of the circle Head man: the leading male dancer Princesses: Indian royalty Sequence of events Grand Entry: flag bearers, veterans, powwow princess dancers, old-young Flag song: the Native American national song Intertribal dances: most common, song for everyone to dance Competition dances: features multiple drum groups that take turns accompanying dancers Honor song: a song sung at the end as a sign of respect and pride Women s dance styles Southern Cloth o Feet in contact with earth o Tee-dress, apron, belt, cloth Buckskin o Tall, straight, and proud, gliding, fringes like breeze through tree o Dress made of buckskin with fringes Jingle Dress o Sound jingles is a prayer that someone is healed o Metal on dresses made from chewing tobacco lids Fancy shawl o Virtuosic dancing meant to resemble butterfly o Bright colors, elaborate garments, outstretched shawl Men s dance styles Straight o Steady, slow, flowing pace dance with no extra footwork o Eagle feather, ribbon shirt, drop, garters and belts, bells Northern traditional o Simulating animal s during hunt war dance o Eagle feathers, ankle bells, porcupine headwear, bustles, staff Grass dance o Stamping on high grass o Long grass ribbons/braids Fancy dance o Virtuosic, rapid footwork, spins, jumps, and dips war dance o Bright colors, elaborate garments, bustles

Native American Flute (track 13-19) Introduced in Oklahoma in the 1970s by Doc Tate Nevaquaya (Comanche, Plains) The legend states that the first flute was created when woodpeckers pecked holes in hollow branches while searching for termites, and when the wind blew along the holes, people nearby heard its music Vertical flute made of cedar, walnut, birch, and other woods Mouthpiece, block/nest, finger wholes Played solo for courting women Warbling sound Vibrato techniques R. Carlos Nakai (Navajo) Mary Youngblood (Inuit) Contemporary Performers (track 20-24) Native American Rap Artists Shadowyze War Party Muskogee Creek Hymns (from the film This may be the last time ) Muscogee Creek Seminole hymns is an unique a singing style that originates from Europe The hymns are sung to comfort and pray, and originates from their ancestors trail of tears (cross the river of death) The hymns are passed down from generation to generation; they were never taught, rather learned Heaven is sometimes a code for the trail of tears reunited with the lost ones The first American music that embraces the 3 major cultures of the nascent US Listening(Examples((

General Characteristics 1. Sioux Grass Dance song (Plains) 2. Iroquois Quiver Dance (Eastern Woodlands) 3. Stomp Dance: Muskogee (Eastern Woodlands) 4. Lullaby: Zuni (SW) 5. Yeibichai song (SW) Consistent, low drums; fluctuating high/low vocables; portamento slide; war dance, pulsate their vocables Stomp dance, call-and-response (call is text, response is vocables), low-pitched voices, singing about women Stomp dance, call-and-response (call/response is identical), rattles Solo female voice, repetition of both melody and rhythm, almost free rhythm & only 2 pitches, monophonic Rattle shakers, vocals, drums, more complex, quick, constant rhythm, 2 basic parts: high/low, falsetto and portamento, used in nightway ceremonies, large intervals 6. Circle Dance song: Vocables, repetition, singing together, (Shizhane e: used in Navaho (SW) enemyway ceremonies) 7. Inuit Throat Singing Throat singing (Alaska) The Modern Powwow 8. Veteran s song (S) Consistent drums, lead singer starts, honoring the veterans 9. Intertribal song (N) Consistent drum, much pulsation, field recording, introduced by MC, vocables, high pitch, Canada 10. Pawnee Desert Storm Consistent drums, lead singer starts, about Saddam Hussein, bells song (S) 11. Grand Entry song (N) Consistent drum, lead singer starts, high pitch, 12. Round Dance (S) Uneven drumbeats, typical of round dances and two-step dances. The 1st chorus is vocables, and the 2nd chorus is in English Plains Flute 13. Doc Tate Nevaquaya Thick tenderness, vibrating timbre, synthesizer Comanche Moon 14. R. Carlos Nakai: Solo flute, clean sound, Shaman s call 15. R. Carlos Nakai: Two Flute and string instruments playing together World Concerto by James DeMars 16. R. Carlos Nakai: Flute and idiophones Jackalope 17. Mary Youngblood: Beneath the Raven Moon Contemporary Performers 19. Shadowyze: Ancestral Spirits 20. War Party: This Land Was Ourz 21. War Party: Lyrical Pow Wow 22. War Party: Feelin Reserved 23. War Party: Just Ain t Right (Start sounds like an eagle). Dual chambered flute creating doublepitch, repeating pattern, accompanies by drums, modernizing flute playing Starts with flute, ancestral spirits Contemporary, rap Powwow intro, contemporary Contemporary Contemporary

Social Dances: Round Dance & Two-Step is a round dance; it is the type of song that you might hear at a 49, which is the name given to the party that happens after a powwow, at a neutral location.

World&Music&Study&Guide:&Latin&America& General&features&& MoreinfluencegloballythanotherLatinAmericanmusic CubaisanislandintheCaribbean(usedtobeunderSpain) Inthe1900sotherplaceswasnotallowedtodrinkorsellalcohol,sopeople wenttocubatoparty,andfrom1920s,musicwasrecordedincuba TangowasthefirstLatinAmericandanceknownintheUSandEurope Andean4basicinstruments o Panpipes&Quena(flutes,Indigenous) o Charango(smallstringinstrument,Spain) o Bamboo(drum) InfluencedbyAfrica o Rhythmicpercussionandvocalchants o Drums,batadrumsorcongas InfluencedbyEurope(mostlySpain) o Melodicinstruments,songsanddances o Violin,Spanishguitar,Charango InfluencedbytheIndigenous o Circledances,panpipes,quena,Andeandrums o PanflutesQhocketingtechnique,almostinterlocking o QuenaQverticalnotchedflute,playedduringtherainyseason,often inpairs;oneplayingmelodyandoneplayingharmony Spanish&roots&& Guajira&&&Contraversia& o TwoSpanishpopulationsettleddowninCuba,onerichgroupthat wasmorelikeclassicalmusic,andonepoorgroupthatwas troubadoursandknownforthedecimasongs o TheDecimasongformisimprovisedrhyminglyricswith10lines and8syllableseach(a/b/b/a pause A/C/C/D) o Contraversa,asubgenreofguajira,areinformalperformancesthat oftentakeformofaduelbetweentwosingerqpoets o Guitar,tres,guiroandmaracas African&roots&& Santeria& o AfricanslavesresistedtheChristianreligion o Santeria(theworshipofthesaints):sacredmusicbasedmostlyon YorubatraditionsfromWestAfrica o TheYoruba sformedsocietiescalledcabildostohelpeachother surviveslaveryandpreservetheirculturalroots o Rhythmspeedsuptofacilitatepossession o Eachorishaisassociatedwithparticularcolors,myths,herbs,dances andsongs o Chango(thundergod),Yemaya(oceangoddess),Eleggua(godofthe roads),ochun(lovegoddess),ogun(godofiron) Rumba& o Rumba:thenonQreligioussideofthepercussionmusicbroughtto CubabytheAfricanslaves,andissecularmusicanddance

o Theyplayedrumbawhentheywantedtopartyorcelebrate o Thebasicformofrumbahasremainedconstant o PercussionandvoiceQbasedensemble(congasorcajonandclaves) o Claveplaysrepeatingpattern,andisthehighQpitchedtimeQkeeper o Rumbahas3mainstyles: Guaguanco Male&female,danceofsexualcompetition Rumbaclave Withvacunaogestureduringthecall/response Oftenbeginswithsoloistsingingmeaninglesssyllables called Diana Decimar(improvicedlyrics) Montuno(chorus) Colombia(men sdance,circlearounddancer,battle) Yambu(couplesdance,mimicsoldpeople) Blend&of&Africa&and&Europe&(mostly&Spain)& Tumba&Fresca& o AfroQCubandancethatblendsFrenchstylecontradanceswith Africandrumming o Elegantdancestyle(France)+drumming&call/response(Cuba) o CametoEasternCubaaftertheHaitianRevolution,whenmany FrenchcolonistsfledHaitiwiththeirslavesandendedupinCuba o TumbaFrescameans drummingfrench Changui& o CouplesdancethatblendsAfricanandEuropeandanceelements o Europeancoupledance+Yambustylemovements o Tres,guitar(Spain)+rhythmsectionswithbongos,call/response, marimbula(africa),maracas&guiro(indigenous) Son& o OneofthemostinfluentialofalltheearlyformsofCubanmusic o Peopleusedthesemusicalgatheringstoairoutpetpeevesand frustrations o SpreadallovertheCaribbean o Parentformofsalsa o SongroupsusedsixinstrumentsandwerecalledSextetos o Callandresponsesectioncalledmontuno,andadecimalsection (rhymingsection)thattellsthestory o Tres,guitar,bongos,maracas,guiroandclave

Andean&Music 1.Kutirimunapaq Hocketing,createsastrongconnectionwitheachother, bigassembly,usuallydanceinacircle Startswithdrumsandbellfasterandfaster,thenthe panpipesjoins 2.Panpipes Hocketing,beginswithoneplayer,thentwoplayers Onefluteplayingpuretones,thendrumsandsecond pipejoins 3.Quena&Charango Quena(indigenous)&Charango(Spain) 4.IllumánTiyu Quena(indigenous)andviolin(European),startswith violinandbombobassdrum Cuban&Music& 5.Guantanamera(Guajira) Guajiragenre,startswithtresguitar,maracas,sticks (Africaninfluence),notstricttotherhymescheme,most famoussongintheguajiragenre Guitarstarts,0:20therestoftheinstrumentsjoins 6.BataDrumsforChango (Santeria) CallingtoChango(godofthunder),batadrums,speed increasestofacilitatepossession 7.Yemaya(Santería) CallingtoYemaya(goddessoftheocean),calland response,sunginyorubalanguage,batadrums,speed increasestofacilitatepossession 8.ConsuelateComoYo (Guaguanco) RumbaGuagancóaccompaniedbypercussion,lead diana rambling(lololola),2:45 switchtocalland response, 9.PapaOgun(Guaguanco) RumbaGuagancó,recordedinstudio,singstheword Diana inthe diana Qpart, montuno Qpart switchof paceanddrumming 10.MuchachaNoSeasBoba (Son) Son,stringinstruments,startswithmontuno,thenitgoes intotherhymingsection 11.ElSonYSus Instrumentos(Son) Son,string,drums,trompet,rhymingsection,then montunosectionasadrumsolo,andthenbacktothe rhymingsection