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Music and World Cultures > Exam 3 > Flashcards

Exam 3 Flashcards

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1
Q

view of an event or performance from a distance, from a detached viewpoint

A

panoptic

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2
Q

view of an event or performance from within a setting into which the spectator views (360) (from the center, immersed)

A

panoramic

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3
Q

small musics within big music cultures

A

micromusic

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4
Q

the legal protection of intellectual property

A

copyright

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5
Q

a manager of performers or a director of a concert series

A

impresario

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6
Q

A group of people who share a common identity and related practices, whether based on ethnicity, religion, language, or generation, that are perceived as distinct from others within a given society

A

subculture

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7
Q

The sphere of musical interaction that involves the power of the state and international industries, and the assumptions and expectations they generate

A

superculture

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8
Q

The sphere of interaction between musical subcultures

A

interculture

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9
Q

A small, four-stringd Hawaiian chordophone that became popular in the twentieth century

A

ukelele

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10
Q

an indigenous hawaiian dance form associated with native chants, later accompanied by Western instruments for tourists

A

Hula

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11
Q

Harmonics produced on the steel guitar by flattening the strings with the palm of the hand

A

palm harmonics or chimes

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12
Q

Technique in Western music when a chord is played one pitch at a time, usually from bottom to top

A

arpeggio

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13
Q

Vocal technique where a singer produces a break in tone when switching from chest to head voice

A

yodel

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14
Q

A large Indonesian ensemble consisting mainly of metallophones

A

gamelan

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15
Q

A type of Balinese gamelan, known particularly for its shimmering sound and interlocking parts.

A

gong Kebyar

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16
Q

Twentieth-century Balinese dance drama performed for tourists

A

kecak

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17
Q

One of the two main tuning systems of Indonesian gamelan music

A

pelog

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18
Q

A new creative work for Balinese gamelan

A

kreasi baru

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19
Q

An Indonesian term for the interlocking parts heard in Balinese gamelan music

A

kotekan

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20
Q

A grouping or measure, of two beats

A

duple meter

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21
Q

A scale that contains five pitches, or the music that is based on such scales

A

pentatonic

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22
Q

The addition of one or more notes in slight anticipation of a pitch

A

grace notes

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23
Q

A regular fluctuation or trembling of a sound, produced by varying the intensity of the sound

A

tremolo

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24
Q

A musical gesture that entails sliding from one pitch to another

A

glissando

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25
Q

A Chinese plucked lute with roots in central Asia

A

pipa

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26
Q

Chinese free reed aerophone with vertical pipes

A

sheng

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27
Q

Chinese bowed lute

A

erhu

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28
Q

A short musical pattern that is continually repaeted

A

ostinato

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29
Q

A regular fluctuation of a sound, produced by varying the pitch of the sound

A

vibrato

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30
Q

Gradual increase in volume from very soft to very loud

A

crescendo

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31
Q

Literate music traditions are more complex than non-literate musical traditions

A

false

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32
Q

Within a given society ______ notations typically develop after _____ notation

A

musical, written language

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33
Q

fake books typically contain

A

lead sheet notation

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34
Q

formalized system used for signaling, memorizing, and teaching

A

notation

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35
Q

The type of musical notation used in the 10th- or 11th-century manuscript of “Ad te levavi” tells how to sing the song, not what the song is.

A

true

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36
Q

The earliest known alphabetical system of music notation originates from

A

Syria-Palestine

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37
Q

In Western Europe, which type of music first acquired a written notation

A

Vocal music

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38
Q

What is the oldest recording device

A

memory

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39
Q

The first visual representations of musical sounds originate from

A

Carvings from the Pharaonic period of ancient Egypt

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40
Q

One of the earliest descriptions of Western music from the Middle Ages

A

underscores the importance of music in the ceremonies of the medieval church

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41
Q

The current Western system of musical notation specifies which of the following components of any musical sound

A

duration, timbre, pitch, loudness

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42
Q

addition of notes to those specified as notes

A

Ornamentation

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43
Q

What are the two motivations behind the use of notation

A

the need for a memory aid and the need to communicate

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44
Q

At the foundation of the Western musical system, the basic unit of music-writing was the syllable, not the musical note

A

true

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45
Q

In Greece, Mesopotamia, and Pharonic Egypt, which type of music first acquired a written notation

A

Instrumental music

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46
Q

Music notation in ancient Greece was principally developed to circulate and preserve specific compositions

A

false

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47
Q

give instructions for making the music rather than indicating the music itself (the player doesn’t have to know how the music will sound)

A

signs for actions

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48
Q

use signs people already know and don’t take up a large amount of writing space with a complicated grid or lots of open space

A

signs for notes

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49
Q

give directions for what to do and includes indications for volume and for the means of getting from one note to the next

A

signs for motion

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50
Q

show the structural divisions of a text and guide a singer in performing that text

A

signs for formulas

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51
Q

Written notation does this

A

preserves music over a long period
provides a framework for improvisation
facilitates performance by those not in contact with the composer

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52
Q

The use of notation and the form it takes are the result of the social and cultural context in which it has been developed

A

true

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53
Q

Written notation is a phenomenon of literate social classes

A

true

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54
Q

Neumes indicate the number of notes, the melodic shape, and what the specific notes are

A

False

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55
Q

five horizontally parallel lines

A

staff

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56
Q

fixes the location of one particular pitch on a staff

A

clef

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57
Q

locate pitches lying above or below any staff

A

ledger lines

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58
Q

total duration between adjacent bar lines

A

measure

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59
Q

vertical lines running through the staff or staves that mark off a fixed number of some note-value or the equivalent duration

A

barline

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60
Q

Professionals use fake books

A

as skeletal guides to performance
in addition to oral tradition in order to reproduce the notated music authentically and idiomatically
to learn standard repertory

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61
Q

Traditional Western notation was designed to accurately notate musics from all musical traditions from around the globe

A

false

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62
Q

Fake books are used

A

particularly by jazz musicians

63
Q

are an informal collection of scores used by performing musicians and as a tool for learning

A

A fake book

64
Q

The earliest books of Western music contain words only

A

true

65
Q

Many fake books are unreliable and some are notoriously inaccurate

A

True

66
Q

Indigenous peoples of which region use no written notation

A

sub-Suharan Africa

67
Q

Which was NOT an important institution for the spread of bhangra in North America?

A

Churches

68
Q

Capoeira performance takes place in a ring called a (n):

A

roda

69
Q

The tango’s choreography, postures, dress, and music are based on the figure of the compadrito, or:

A

aggressive urban cowboy

70
Q

How does the pas de deux in classical ballet transmit messages about sexuality and gender roles?

A

The male dancer replicates the cultural ideal of the gallant gentleman who supports a woman and endures hardship for her comfort.

71
Q

Which term refers to the middle section of the angoleiros tradition of capoeira, consisting of a responsorial part that is also known as the “prayer” or “praising”?

A

chula

72
Q

The instrumental tango declined in prominence in the 1960s because it was replaced by the tango song.

A

False

73
Q

Which term refers to the rural Argentinean cowboys whose musical sounds laid an important basis for tango music?

A

gauchos

74
Q

Which term refers to a Chinese plucked lute?

A

pipa

75
Q

a type of button accordion brought to Argentina by German immigrants, which came to displace the guitar in tango ensembles

A

bandoneon

76
Q

Which term refers to a short musical pattern that is repeated?

A

ostinato

77
Q

standard steps for tango

A

fan, swivel, promenade, The Single Cortez

78
Q

What was the focus of early controversies about the tango?

A

he dance’s overt representation of sexuality

79
Q

What factor gave tango, initially associated with poverty and ill repute, respectability in Argentina?

A

It migrated to Europe and was welcomed into upper-class settings there.

80
Q

What role did bhangra play for South Asian youths in Great Britain by the 1960s?

A

It helped them affirm their identity in a positive way within a hostile and exclusionary British culture.

81
Q

The tango song La Cumparsita seems dramatic because of the acceleration of tempo, or ritardando.

A

False

82
Q

Dance can communicate:

A

stories from literature or mythology.
historical narratives.
challenges to social conventions.
a variety of emotions.

83
Q

Which of the following is a case in which Western intellectual property laws—which assume that ownership of music is an individual right—become ethically and economically problematic?

A

when music is considered to have sacred origins
when music has been inspired through revelation
when music is considered to be the property of an entire community

84
Q

How does sung tango differ from the instrumental form of the dance?

A

It is more irregular in tempo, slowing or quickening for dramatic purposes.

85
Q

The movements of martial arts, such as capoeira, often lack expressive or philosophical significance.

A

false

86
Q

The orchestra that accompanies capoeira is called a (n):

A

bateria

87
Q

When and where did capoeira emerge?

A

among African slaves who worked on sugar cane plantations and in gold and diamond mines

88
Q

The dhol is a large drum played to accompany Punjabi harvest festival dances performed by men and women.

A

false

89
Q

How does a player produce different pitches and timbres on the berimbau?

A

by changing the pressure of a stone or coin against the string

90
Q

What were the cellist Yo-Yo Ma’s main goals when he launched the Silk Road Project?

A

to present music and musicians from cultures along the ancient Silk Road, and to commission new music from composers from these regions

91
Q

An Arangetram is typically performed by a young woman of South Asian descent to:

A

demonstrate her mastery of bharata natyam

92
Q

The most important component of capoeira movements is ginga, or:

A

sway

93
Q

What does the term dohl refer to in relation to the bhangra tradition?

A

a two-headed drum made of mango wood whose rhythms are the basis for bhangra music

94
Q

Grace notes, fingered tremolo, glissando, and high harmonics are ornaments that are distinctive to which Chinese instrument?

A

pipa

95
Q

What are “steps” or “figures” in the tango tradition?

A

the various standard motions in tango dancing

96
Q

Which of the following is NOT a reason why the tango was associated with the lower classes in Argentina?

A

The steps were based on a folk dance from the impoverished countryside.

97
Q

Which term refers to the fundamental motion of capoeira—the “sway” of the player’s body from side to side in wide-legged stances?

A

ginga

98
Q

Which nonmusical themes are central to the significance of tango in Argentina and elsewhere?

A

open sexuality and male dominance

99
Q

A section called a coda, literally meaning “tail,” may be used to end a tango such as Adiós Nonino.

A

true

100
Q

The study of dance steps

A

choreology

101
Q

Dance in which two people perform face-to-face within an intimate space

A

couple dance

102
Q

Dance performed by multiple dancers side by side or in a horizontal sequence, Middle East

A

line dance

103
Q

Extended due in Western ballet between the leading female and leading male dancer

A

pas de deux

104
Q

Movement form that imitates characters or actions through exaggerated silent gestures

A

mime

105
Q

Afro-Brazilian performance style that combines elements of martial art dance, etc

A

capoeira

106
Q

Form of patterned movement such as boxing, fencing, judo, or karate that embeds values of a particular culture

A

martial art

107
Q

Musical bow used to accompany capoeira

A

berimbau

108
Q

Lowest and loudest berimbau

A

berimbau gunga

109
Q

Middle-range berimbau

A

berimbau medio

110
Q

Highest-range berimbau

A

berimbau viola

111
Q

Tall, cylindrical drum used to accompany capoeira

A

atabaque

112
Q

Brazilian frame drum used to accompany capoeira

A

pandeiro

113
Q

Idiophone of West African origin with two cowbells welded together

A

agogo

114
Q

Brazilian scraper

A

reco-reco

115
Q

Small wicker rattle filled with seeds shaken by berimbau player

A

caxixi

116
Q

Colonial-era Afro-Brazilian song and dance gatherings

A

batuques

117
Q

Master of capoeira

A

mestres

118
Q

Practitioner of Angola-style capoeira

A

angoleiro

119
Q

First section of the capoeira ritual, which contains historical and philosophical context

A

Ladainha

120
Q

A responsorial vocal section that signals that the capoieira game can begin

A

corrido

121
Q

The second responsorial section of the capoeira with salutations and greetings

A

chula

122
Q

The rhythmic patterns played by the berimbau in capoeira

A

toque

123
Q

A tightly choreographed men’s group dance, originally from the Punjab region

A

bhangra

124
Q

A dance performed by Punjabi women, equivalent to the bhangra

A

giddha

125
Q

Left, lower-pitched head of the dhol

A

dhamma

126
Q

Right, higher-pitched head of the dhol

A

purha

127
Q

Traditional rhythm of the dhol drum as well as common motion in bhangra with both arms and left leg lifted.

A

jhummar

128
Q

Single-pitched string instrument used in bhangra

A

bugdu

129
Q

double-flute used in bhangra

A

algoza

130
Q

Metal idiophone with discs attached used to accompany bhangra

A

chimta

131
Q

South Indian temple dance

A

bharata natyam

132
Q

Formal recital performed by bharata natyam dancer after years of study

A

Arangetram

133
Q

Smaller dohl

A

dholaki

134
Q

Short solo phrases traditionally sung at the beginning of Punjabi songs

A

bolis

135
Q

Festival with South Asian roots often held in the South Asian diaspora

A

mela

136
Q

A button accordion associated with the tango

A

bandoneon

137
Q

An Argentinean-derived style of song and dance

A

tango

138
Q

A free aerophone with reeds that are hidden within two rectangular headboards connected by a folding bellows with keys or buttons to play a melody and chords

A

accordion

139
Q

An accordion technique that results in an intensified tremolo or vibrato

A

bellows shaking

140
Q

Long-short Cuban rhythm

A

habanera rhythm

141
Q

Standard movement pattern in dance

A

step (or figure)

142
Q

Instrumental ensemble with one or more bandoneon, string instruments, and piano that played tango to accompany dance

A

orquestra tipica

143
Q

Argentinean word for cowboy

A

gaucho

144
Q

Early form of the tango, with two contrasting sections, both set in quadruple meter with long-short rhythms

A

tango-romanza

145
Q

Sung tango, irregular tempo

A

tango song

146
Q

A melody that contrasts with a main melody or tune played at the same time

A

countermelody

147
Q

spanish for organ grinder

A

organitos

148
Q

A Western classical form that generally consists of an exposition, in which one group of themes is presented in a home key and a second in a foreign key; a development section in which the themes are elaborated on; and a recapitulation in which both groups return in the home key

A

sonata form

149
Q

The process of elaborating or varying a theme. the middle, contrasting section of Western sonata form

A

development

150
Q

Repetition of a melody or section of music

A

restatement

151
Q

Argentinean gathering featuring tango music and dance

A

milonga

152
Q

Dramatically slowing down music’s tempo

A

ritardando

153
Q

Term for a concluding section

A

coda

Music and World Cultures (8 decks)

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