Study Guide: Final Exam- Fall 2015MUH 2512PURPOSE:The purpose of this final exam is to test your knowledge regarding the material covered in the latter half of the semester. This exam is not cumulative and will only cover the chapters we have studied since the midterm exam (Chapters 10-12). FORMAT:The exam will consist of 50 multiple-choice questions. The first 32 questions will pertain to listening examples that will be played during the exam. There will be a total of 16 listening examples.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 significance). 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 final exam.Chapter 10: West AfricaIsicathamiya - a tjype of a cappella music developed by black South Africans. Sung while working in the mines. Highlighted the historical struggles of the time like Apartheid. Ladysmith Black Mumbaso. Collaborated with Paul Simon to raise aware-ness for aparteidCall-and-response - A music style. One voice or instrument speaks or plays and the or-chestra or choir responds with the same motif.Polyvocality - many voicesJeliya/Jeli family names - Koayate, Diabate, SissokoSeckou Keita - Father was keita, mother was a jelimouso (sissoko), grew up with on hismother’s side with her musical passionsKora - 21 string spike harp chordophone, straight neck mounted on to the resonator, resonator made out of half calabash/half gourd, notched bridge on the front, 2 paral-lel rows of strings attached to metal ring. Kora techniques (birimtingo, kumbengo, sataro) - Birimtingo - improvised melodic flour-ish, Kumbengo - layered ostinato-based style used to accompany singing, Sataro - im-provisatory, slightly out of time, and even speech like style of singing; higher pitch rangeFontomfrom (drums within the ensemble, use of the ensemble) - Used for ceremonies honoring Ashanti chiefs and royal processions. It is a type of drumming used to com-municate royal messages. Consists of the dowuro bell, and three pairs, from, atumpan, and eguankoba 1Musical syncretism - Think creation of the Reeces Cup. You got your ___ in my ___. You got your ___ in my ____! amalgamation or attempted amalgamation of different reli-gions, cultures, or schools of thought. Diaspora - Cultural deposits away from the actual country of cultural originApartheid - Black oppression in South Africa by whites. Nelson Mandela. Angélique Kidjo (history, musical styles) - Born in Benin in 1960, professional career be-gan at age 20. her style mixed her african cultural roots with western music like soul, jazz, funk, and R&B “Okan Bale” - pop ballad that mixes african styles and western stylesChimamanda Adichie - gave the TED talk. Danger of a single story. Polyvocality. stereo-types are a single story. not okay.Colonialism - a practice of domination, which involves the subjugation of one people to anotherAfrican musical characteristics - Layered ostinato, polyrhythm, call and responseChapter 11: Latin AmericaBossa nova - created late 1950s, associated with the middle class (white) South zone of Rio de Janeiro, founders of bossa - Antonio carlos Jobim, Vinicius de Moraes, and Joano GilbertoBatida - developed by Gilberto on guitar, chords between the syncopated notes of the melody while the upper and lower guitar strings play chordsSamba - rhytmic styles and American jazz and popular musicTropicália - founded by Gilberto Gil and Caetoano Veloso (from the Afro-diasporic cul-ture), influenced by Bossa Nova and the beatles, hendrix, and james brown. Genre of Os Mutantes.Os Mutantes - out of cultural cannibalism, formed in the late 60s, psycadelic, avant-garde rock band style, not really popular with brazilian audiences at the time, 1968 Caelano Velosi and Gilberto Gilder arrested. wrote the manifesto antropogafo.Tango - vertical expression of a horizontal desire, originally created in the brothels and bars of Buenos Ares, Argentina in late 1800s, associated with lower class, mix-ture of europeans, people of African descent and criollos. Cultural cannibalism cultures devour elements of other cultures. Oswalde de Andrade - wrote Manifesto Antropofago, said brazil should devour differ-ent elements of foreign culture.Julajula (yiya, arka) - used in harvest ritual called kusicha timpu julajula are actually made up of two half instruments played by different players, 25-30 men playing in pairs, no drumsAyllu (location, characteristics) - music and traditions linked to particular seasons, agricultural rituals, life cycle events, and religious ceremonies, in Peru, different in-struments were linked to different ally rituals of wet/dry seasons. Egalitarian society.Santería - combining the indigenous Yoruba religion with Catholicism, overlap in ven-eration of saints vs. veneration of Yoruba Gods, Bata - ritual drumming practice of Santeria. Rumba guaguancó- Rumba is all drums and voice, derived by a single rhythm/clave, guaguanco - dance supposed to imitate mating ritual between rooster and hen, lower 2class.Celia Cruz - very famous salsa performer, queen of salsaTito Puente - newyorcia, heavily influcenced by jazz and cuban music, joined Man-chito’s orchestra played with Manchito and the afro-cubans, Julliard, Oye Como VaCarlos Santana - LA based rock band with latin dance twist. Carlos grew up with many different influences like latin dance, jazz, rock, and blues. performed at woodstock and covered Oye Como VaCeleste Mendoza - mulatta, queen guaguanco. “Oye Como Va” - very famous song, clave, sax, guitar, flutes, cowbellPan-Latino identity - Blending American rock and latin dance, honoring difference while insisting inclusion. Like Tito Puente Jr.’s cover of Oye Como Va.“Cielto Lindo” - Tradtitional mexican verse-chorus form, about a woman’s eyes. single trumpet, vihuela guitar, guitarron, male voice lead and chorus (violins), triple meter in Harmonia sections, Grito (vocal interjections, shouts, hoots)Mariachi - proud symbol of mexican identity, type of band, also has a negative conno-tation, condescending steryotypes. Frito bandito, mass media portrayals. Modern mariachi