MUH2051 Midterm Study Guide Listening As a way to guide your study efforts I would focus your listening energies on the tracks associated with the three main chapters that we have gone over for the last 5 weeks Chapters 8 10 and 12 Here I would give special emphasis to the following tracks 2 19 2 20 2 21 2 23 3 2 3 3 3 12 3 13 3 14 3 16 3 17 3 18 4 11 4 12 4 16 and 4 17 Additionally some of the tracks that we discussed in conjunction with those chapters were used as examples in chapters 1 6 and are therefore in different spots on the CDs Please familiarize yourself with these tracks 1 4 Qur anic recitation 1 12 Allah Hai 1 15 Iraqi Caf Takht Ensemble Specific maqam called Bayati Begins with a taqsim instrumental improvisation free rhythmic soloistic Melodic instruments are playing the same melody but each is not quite the same we call this heterophony 1 22 Kudi Kudi India Bollywood one of Jasbir Jassi s songs and 1 26 Zeina Firqa Emsemble As you can see you will not be responsible for the musical examples from the first 6 chapters that were used as examples to illustrate the music terminology I hope this outline helps I want to reiterate that I am not out to trick you most every listening example here we have spent time discussing in class Topics Qawwali from the Punjab region of India Powerful emotional signing Call and response common Religious music of Sufism CD example 2 20 by Shafqat Ali Khan Qur anic recitation Egypt In Arabic singer means one who enchants but there is a different word for one who recites the Qur an Differences between the two words apply when listening to Qur anic recitation especially among the most Conservative Muslims But this relationship is paradoxical while stricter Islamic teachings even prohibit music most modern Muslims do not hold such rigorous distinctions There are certain musics notably Sufi music in which singing is highlighted Qur anic competitions are notable Raga basis of melody A complete and self contained melodic system that serves as the basis for all the melodic materials in any composition or performance created in that raga Tries to emulate Nada Brahma The Sound of God human voice believed to be closest human approximation Have different names and are played for different times of the day moods or feelings Deeply steeped in the spiritual and cultural traditions of Hinduism Raga is an identifying set of pitches a scale Raga is a unique repertory of ornaments and melodic motives notes between the notes Raga is a system of rules and procedures for dealing with the various pitches ornaments and melodic motives Raga is a repertory of set precomposed compositions unique to that particular raga Raga is a host of extramusical associations time of day ceremonial event emotion Tala basis of rhythm meter In North Indian raga most often played by the table Rhythmic structures that keep time containing full and empty halves In a 16 beat tala called tintal the pattern looks like this 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 X X O X Beat 1 is called sam the start and principle beat of the pattern the Xes are tali beats and the O is khali Keeping tal often in performances musicians not playing and the audience will keep tal Xes are clapped Os are waves and the dots are touches with the fingers Drum strokes create the tala and are mirrored in rhythmic vocal syllables Alap slow and abstract movement no drumming no meter free improvisation explores the raga Jor Musical bridge between the alap and the gat solo instrument plays more rhythmically Gat drums enter playing the tala raga s main set compositions are introduced elaborated and improvised upon still grows and develops in intensity Jhala section that drives to a climactic finish jumps up in intensity and tempo often ends in a rhythmic fury with a tihai Birimintingo melodic improvisation at 0 24 of Dounuya by Seckou Keita Tihai rhythmic pattern played three times usually ending on sam serves as a rhythmic cadence to end a musical phrase Fon the ethnic group that Angelique Kidjo was born into Benin Where Angelique Kidjo is from Once the center of the Dahomey empire and in the 17th century the rulers were very involved in the int l slave trade Then Dahomey came under French colonial rule gained independence in 1960 renamed Benin in 1975 Angelique Kidjo international popular music superstar from Benin Born in 1960 into the Fon ethnic group Sings many songs in Fon One of country s most successful international musicians Sought to create distinct crossover musical styles Her albums Fifa Oremi Black Ivory Soul and others feature African diasporic musics from the Americas Sings Okan Bale translates to A Piece of My Heart Musical Africanisms Complex polyphonic textures Layered ostinatos with varied repetition Conversational element Improvisation Timbral variety Distinctive pitch systems and scales Fontomfrom Instrumentation dawuro and three pairs of drums from atumpan and eguankoba Context Music of the Akan people from Ghana West Africa Many years ago the Akan people had Chiefs as leaders of local groups They still exist today but in a different context larger issues overtaken by gov t Each chief has their own music their own fontomfrom group symbol of power stature Operation page 200 Things to note ostinatos polyvocality polyrhythms timbral distinctiveness call and response Kora West African 21 stringed spiked harp Chordophone Gourd resonator strings made of fishing line traditionally twisted antelope hide cow hide stretched over gourd grip extra resonance gained through tailpiece One of traditional instruments of Mande musicians Mande Parts of Mali Senegal Gambia Guinea Bissau and Guinea Spread along the Niger Senegal and Gambia rivers Several diverse groups united by similar languages Mande Developed a vast empire in the 13th century united by Sunjata Keita many songs dedicated to him Sataro a feature of Jeli praise songs Improvisatory speech like singing Zaar theory that the origin of Egyptian women s dancing came from elements of this and Ghawazi Healing ritual involving spirit possession and trance Officially prohibited among Egyptian Muslims but is still practiced Belief that women whom are sick with certain symptoms are possessed by an evil spirit jinn The Zaar is used to alleviate the women of her possession Music is crucial to zaar Musicians search for rhythms that affect the jinn in positive ways Dancing involved as well often difficult movements Trance is induced cathartic release hopefully
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