Midterm Study GuideMUH 2512Fall 2015PURPOSE:The purpose of this midterm exam is to test your knowledge regarding the material covered in the first half of the semester. This exam will cover Chapters 1-2 and 7-9. FORMAT:The exam will consist of 50 multiple-choice questions. The first 20 questions will pertain to lis-tening examples that will be played during the exam. For these questions, I will ask you to listen to the example and then answer questions that relate to the concepts surrounding this musical sample. Be sure to review all of the listening we have done in class thus far (see Powerpoints on Blackboard).STUDY TIPS:In order to prepare for the exam, you should review all of the PowerPoint presentations (posted online), the assigned readings for this course, and any class notes. *For each chapter, be sure that you are familiar with the musical examples from the book and from the PowerPoint presentations. Be able to contextualize each (who wrote it, what is its sig-nificance, what kind of musical/cultural concepts it displays). You will also need to be familiar with the history and geography of each region we have dis-cussed. Below is a list of terms divided by chapter that may appear on the midterm exam.ASK ABOUT THE LISTENING STUFF. HOW MANY SELECTIONS? HOW MANY QUES-TIONS FOR EACH SELECTION? WHAT ARE THE QUESTIONS ON?Chapters 1-2~Ethnocentrism - imposing out own culturally grounded perspectives, biases, and assumptions on practices.~Cultural relativism - viewing the beliefs, practices, and values of others in their cultural context~Society vs. cultureChapter 7~Central Javanese court gamelan - majestic, symbol of kings power. laid out like that cast sys-tem. Everybody all part of the big essence. aestheticizes the universe-Characteristics, style, relation to social structure, connection to cosmology~Gamelan gong kebyar - fiery fast style, interlocking rythms, laid out like caste system, aestheti-cizes the universe. interlocking rhythms show the interlocking society -Style, interlocking, relation to social structure, connection to cosmology~Kecak - vocal gamelan~Ramayana - the story. Mythology. Famous story reenacted by puppets and shit~Agama tirta - balinese hinduism - religion of holy water~Bali Aga - Original balinese - indigenous people of bali1~Kilitan telu - practice of using ~Wayang kulit - shadow puppetry used to reenact ramayana~Ombak - the wave effect by detuning male and female instruments~Bajidoran - used among lower classes. Men drink, women dance, men touch women and give them money. Relates to the double standards and gender roles of women and men. women are forcibly put in these roles-Background, relation to gender issues~Gamelan beleganjur - funeral processions. used for spiritual ascencion, and warding off evil spirits~Kreasi beleganjur- taking away from religious roots, used for competition/entertainment/bond-ing~Colotomic instruments - part of the gong cycle - gong ageng, kajar, kempur, kewong~Agogic instruments - ceng ceng, kendang~Melodic elaboration instruments - gong chimes, reyong, Ugal, pamade, kantilan ~Western composers influenced by gamelan music - Claude Debussy, Lou Harrison Chapter 8~Bhangra - east meets west. - roots in punjabi music. standardized in the 80s. popular form of dance. Punjabi disaporas-History, style~Orientalism - the stereotyped representation of asia from non asians~Dhrupad - oldest from of hindustani classical music still practiced. male musicians, improv, vo-cal and composed devotional music-Style, uses, history~Alaap - improv. ~Raga - melody. Sa, re, ga, ma, pa, dha, ni, sa - sets of rules. ~Tala - rhythmic cycle/meter~Khayal - mughal empire accepted diversity niyamat khan descent of Jansen. Mixed Dhrupa and Qawwali. muslim devotional, and hindu devotional-Style, uses, history~Qawwali - mughal empire, sufi music, raga and tal, mix of text and improv associated with muslim rule-Style, uses, history~Tabla - pair of single headed drums~Mridangam - a double headed drum~Hindustani classical music-Instruments - sarod, bansuri, shahanai, violin, sarangi, sitar, tambura, tabla,-Style - improvices-Genres~Carnatic music - Southern indian music-Instruments - mridangam, kanjira, ghatan,, morsing, konnokal, violin, tamboura, voice, veena-Styles - optional alaap… pallavi anupallavi charaman, swara-Genres-Song types: Kriti, Ragam Tanam Pallavi, Varnam2~Ravi Shankar - influencial hindustani sitar player. collaborated with george harrison, and john coltrane. master sitar player, influenced western music as much as eastern music. -Significance, musicians with whom he collaborated. Golden age in late 1940s-60s~Bollywood - Hindi cinema located in Mumbai-Composers: *A.R. Rahman-Influences - in the 60s and 70s influenced by Indian mafia and gangsters later influenced by romantic ideas. Ramayana and Mahabharata. Western themes. Parsi theatre~Gharana - kind of like sub-subgenres. each one has its own way of doing things. Chapter 9~Instrumental music-Ornamentation, relation to dance - roll, cut, can, treble, triplet. -Musical form - AABB-Jigs, reels, hornpipes - jigs in 6/8, reel in 4/4, hornpipe in 4/4 but slower and swung. -Instruments - bodran, harp, guitar, flutes, fiddle~The Troubles - Sectarian violence. Conflicts between IRA UDA and British Army. Bogside massacre. U2 Sunday Bloody Sunda-History, important events~Sean nós - oldest from of irish traditional music unaccompanied singing in gaelic. metaphors within text. participatory settings. used as communication with penal laws. preserved religion and culture through music. Sacred mass.-Style, uses, history~Harp tradition - british saw the musicians as culture bearers and this as a threat. Elizabeth I made a law to hang all harp players and burn the instruments. Harps were used to keep history and culture. History almost died. brought back by Turlough. Harp is now a symbol of Irish na-tional culture-Connection to persecution of Irish people, connection to bards~Penal Laws - catholics banned from practicing religion~Turlough O'Carolan - revived/saved irish culture with the harp from the penal laws~Seamus Ennis - taught by father, james ennis. played uilleann pipes and worked for govern-ments irish folklore commission. recorded for radio, then went to london and worked for bbc. preserved and recorded folklore in scot. ireland, england and wales. PS fuck wales. came to US and performed at newport folk fest. ~Sean O’Riada - influential player in the transformation of the irish traditional