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World Music

World Music. What to Listen For in Music Around the World. Much of the music around the world is part of an oral tradition All cultures use both voice and instruments Music is a reflection of a culture. To understand the music, we need to understand the role it plays in that culture.

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World Music

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  1. World Music What to Listen For in Music Around the World • Much of the music around the world is part of an oral tradition • All cultures use both voice and instruments • Music is a reflection of a culture. To understand the music, we need to understand the role it plays in that culture

  2. World Music Japanese Shakuhachi Music • Bunraku puppet theater • Akin to Western opera • Only one performer • Kabuki theatre • Played by an all-male cast • Dancing, lively drama • 3 different instr. ensembles

  3. World Music Japanese Shakuhachi Music, Koku-Reibo • Used in religious ceremonies by Zen Buddhist monks • Fuke-Zenji ringing small hand-bell • Slides, shades of colour, dynamic variations

  4. Japanese Shakuhachi Music Japanese Music Changes over Time • Feudal Period: Buddhist chant and Shinto songs and prayers; courtly instrumental music and Noh theatre • Edo Period: more urban, middle class; entertaining • Modern Period: popular songs and Western influence

  5. Javanese Gamelan MusicGangsaran-Bima kurda-Gangsaran • Ceremonial music • The gamelan in Indonesia is regarded with reverence and special spirituality • Requires cooperation of many people submerging their own personalities into power of a unified whole

  6. Javanese Gamelan, Gangsaran-Bima kurda-Gangsaran • Gangsaran means “achieving one’s purpose” and Bima Kurda means “angry hero” • Mostly metallic instruments • Two drums • Stylized dance

  7. African Drumming and Mbira Music • People in North American tend to think of Africa as a single entity—over simplified • Broad cultural division between North Africa and sub-Saharan • Certain general traits of sub-Saharan music

  8. African Drumming and Mbira Music • Music is strongly associated with dance • Numerous instruments • Favour drums and percussion • Polyphonic (multiple sounds) • Repeated, varied and improvised melodies

  9. Mandarendare(A Place Full of Energy) • Mystical music used to communicate with the spirits of ancestors • Dawn ceremony • 3 layers of sounds • Regular bass • Two interlocking layers above

  10. South India:Sarasiruha Saraswati The goddess of Music and Learning

  11. South India:Sarasiruha • A concert is made up of a series of as many as 12-14 performance segments each in a different raga and based upon a different composition • “Sarasiruha” is a song by the 19th Century composer Puliyur Doraisamy Ayyar • Performer is Ramachandra Iyer playing a veena

  12. South India:Sarasiruha Instruments • Veena: a seven-stringed, plucked lute with ornate body, inlaid deer horn or ivory, carved from jackwood • Natural or papier-mache gourd is attached to the upper neck as a resonator • Brass frets are set chromatically

  13. South India:Sarasiruha Veena

  14. South India:Sarasiruha Mridangam

  15. South India:Sarasiruha The Ensemble • One of the marvels of this tradition is that instruments and musicians can be added to each functional layer • Melody • Drone • Rhythm

  16. South India: Sarasiruha Sruti (the Drone) • The drone, or sruti, marks the tonal center—the center of gravity—for the melody and its raga • In karnataka music the notes used for the drone are the tonal center and the perfect fifth above it • The dissonant tones tend to “pull” toward tones that blend with the drone

  17. South India: Sarasiruha Raga (the Expressive Mode) • The veena begins alone (without the drum) in a free-flowing melodic improv called atapana • No sense of beat or time cycles • Pauses filled in with drones • Slides, pulls and tremolos • Intervals, scales, and colours very different from the Western tradition

  18. South India: Sarasiruha Tala (the Time Cycle) • At 5:42 the kriti begins (composition) • New element added: tala • Heard by the striking of the drone • The tala in this case is the Adi 4 + 2 + 2 • Once entered, will continue until the end

  19. South India: Sarasiruha Musical Structure: Improvisation • Kalpita sangeeta: precomposed music • Manodharma sangeeta: improvised music • Four major types of improv in karnataka • Alpana • Tanam • Niraval • Svara kalpana

  20. South India: Sarasiruha Musical Structure: The Kriti • All compositions in karnatka music are songs, melodies with words • Three main sections • Pallavi (“the sprouting,” “blossoming” • Anupallavi (“after the sprouting, blossoming” • Charanam (“verse” or “foot”) • Chitta svaram or Svara sahityam (Optional)

  21. Sioux Grass Dance

  22. Sioux Grass Dance • Piercing falsetto • Swooping strain • Driving beat • Multiple, independent meters • Heavy portamentos (sliding voices) • Vocables (nonsense syllables)

  23. Sioux Grass Dance Form ½ A A B A8 B A8 ½ A A B A8 B A8 ½ A A B A8 B A8 B A

  24. Sioux Grass Dance Dancing Foot: left right right left left right Mov’t: step toe-heel change toe-heel change toe-heel, etc

  25. Zuni Lullaby

  26. Zuni Lullaby • Recorded in 1950 by Lanaiditsa on the Zuni Reservation in western New Mexico • The importance of repetition • Each textual phrase can be used with either musical phrase except for “my boy” which is always on an “A”

  27. Hm atseki My boy Okshits’ana Cottontail little Poket’sana Jackrabbit little Kochits’ana Rat little Zuni Lullaby

  28. Zuni Lullaby 1. My boy, little cottontail, Little jackrabbit, little jackrabbit 2. My boy, little cottontail, Little rat, little boy, little boy 3. My boy, little jackrabbit, Little cottontail, little cottontail 4. My boy, little jackrabbit, Little cottontail, little rat, little rat 5. My boy, little jackrabbit, Little cottontail, little rat, little rat (3 times)

  29. Zuni Lullaby Phrase Structure A A B B A A A B B A A B B A A B B B A A A B B (three times)

  30. Yeibichai Song from the Nightway Ceremony

  31. Yeibichai Song from the Nightway Ceremony Phrase Structure X Y Z A A ½ A ½ A B V W A ½ A ½ ½ A ½ A B V Y’ Z Y ½ Z A A ½ A ½ A B V W A ½ A ½ ½ A ½ A B V Y’ Z Y ½ Z A A ½ A ½ A B V W A ½ A ½ ½ A ½ A B V Y’ Z

  32. Yeibichai Song from the Nightway Ceremony • Call of the Yei (gods) • The teams compete and the best combination of costumes, clowns, singing and dancing receives a gift from the family giving the ceremony • The representation of the presence of the gods at the Nightway brings god-power to the ceremony and helps the sick person get well

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