Study Guide Final Exam MUH 2051 0002 PURPOSE 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 13 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 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 discussed Below is a list of terms divided by chapter that may appear on the final exam Chapter 10 West Africa Isicathamiya acappella call and response synthesis of zulu musical tradition and Christian hymnody Call and response Polyvocality many voices influence of the African diaspora in cultural and musical raditions around the world Jeliya Jeli family names hereditary clss of professional mande musicans praise songs Seckou Keita Father is of royal lineage Keita and mother is a jelimuso Sissoko dounya praise song to god Kora played by mama dou diabate guitar electric base vocals Kora techniques birimtingo kumbengo sataro Fontomfrom drums within the ensemble use of the ensemble akan royal drum ensamble king fast drum sound Musical syncretism Diaspora Apartheid A story Ang lique Kidjo Mixed Fon cultural roots with American soul rhythm and blues funk and jazz Chimamanda Adichie dangerous story Chapter 11 Latin American Bossa nova Founders of bossa nova composer and pianist Antonio Carlos Jobim lyricist Vin cius de Moraes and singer and guitarist Jo o Gilberto Combines samba styles rhythmic and other musical elements with American jazz and popular music Samba musical instrument Tropic lia Founded by Caetano Veloso and Gilberto Gil Tango Combine music and sociopolitical principles Cultural cannibalism Os Mutantes was formed rock band style Oswalde de Andrade creator of Manifesto Antropof go Julajula yiya arka played by the Quechua speaking Kalankira community of the ayllu of Machu in Bolivia for the harvest season Yiya leader pipe 4 tubes plays D G B E high Arka follower pipe 3 tubes plays E A D high Ayllu location characteristics Buenos Aires Mixture of Andean music tangos and gaucho songs Santer a practices the ritual dance bata Rumba guaguanc a song that accompanies dancing Celia Cruz Salsa dancer Tito Puente sings Oye Como Va Carlos Santana Diverse musical influences jazz blues rock Latin dance Celeste Mendoza mulatta queen of guaguanc Oye Como Va sung by tito Puente and carlos Santana Pan Latino identity Blending American rock and Latin dance Cielto Lindo Mariachi Proud symbol of Mexican identity Frito Bandito corn chip commercials produced in the US between 1967 1971 Steelpan Chapter 12 Egypt Maqam Similar to Indian raga Specific ascending and descending pitches Melodic patterns and ornaments Takht Traditional ensemble of five instruments Ud Qanun Nay Violin Riqq Zaar rhythm Duple meter Changing intensity and tempo Defined by two tones dum low pitched and tek higher pitch Performed on the percussion ensemble Zaar ritual Led by older woman old mistress Focus on jinn spirit called asyad master Dum tek patterns Umm Kulthum rise of Muhammad Badiaa Masabni Huge influence on Egyptian women s dance Samia Gamal Egyptian dancer Sayyid Darwish studied with the greatest arab modernist Muhammad Abd al Wahhab greatest arab modernist Gamal Abd al Nasser Bloodless revolution instigated a folk revival on fellahin Fallahin Egyptian folk culture Jinn a spirit called asyad Raqs sharqi A type of bellydance oriental dance Raqs baladi a type of bellydance folk dance Belly dance all encompassing Ghawazi outside or invader Egyptian nationalism new musical aesthetic Chapter 13 China On the Golden Hill in Beijing meaning purpose extramusical associations music on propaganda based on tibetan folk song Songs of praise are offered to Chairman Mao songs of praise are offered to the Chinese Communist Party Slap a Jap Pearl Harbor bombing on japan Cui Jian grandfather of Chinese rock Nothing to My Name historical associations purpose poem Tan Dun New Wave croching tiger hidden dragon desert capriccio is the song Crouching Tiger Hidden Dragon tan dun new wave Programmaticism depicts Tibetans happily singing and dancing in the mountains and welcoming communist rule or not Confucianism characteristics connection to music Social stratification duty deference to authority morally virtuous social order Music as form of social control Zheng Popular for han dynasty
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