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MUSC 063 > Midterm > Flashcards

Midterm Flashcards

1
Q

classical

A

art music of the courts and temples of India, when it came to urban centers in the 19th century

implies long history, sophisticated techniques, refined theory

term for music based on raga and tala

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2
Q

raga

A

melody

associated w/time of day, thought to have other connections to natural world (either connection to a season, or has healing powers etc)

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3
Q

tala

A

rhythm

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4
Q

Hindustani

A

classical system of North India, developed by about 15th century

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5
Q

Carnatic

A

classical system of south india, developed by about 15th century

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6
Q

sangita shastra

A

“music technical works”, written texts in Sanskrit that preserves long history of music theory

specialists study these to reconstruct history of musical thought and practices

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7
Q

oral tradition

A

has always interacted w/ written text

formal rules have been carried orally/transmitted thru memorization

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8
Q

Natyashastra

A

one of the earliest sanskrit theoretical texts on the arts

compiled before 400 CE, contains theory on theater, dance, and music

describes elaborate theory of musical pitch; outlines theory of aesthetics that’s foundational for Indian fine arts

composed in rhyming verses

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9
Q

Sangitaratnakara

A

14th century

premier text of the medieval period
7 chapters, basis for later texts written in Persian and Sanskrit: covers pitch, raga, techniques, tala, instruments, and dance

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10
Q

Paluskar

A

charismatic performer, attracted students w/ his focus on devotional sensibilities

standardized theory and notation

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11
Q

Bhatkhande

A

reinterpreted Sanskrit terms and presented classroom-friendly music curricula

standardized theory and notation

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12
Q

Purandara Dasa

A

15th century

his work was adopted for teaching pedagogy

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13
Q

Venkatamakhi

A

17th century

his work was adopted for raga classification

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14
Q

svara

A

Indian term for a pitch or musical tone

Sanskrit term for sound

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15
Q

saptaka

A

sequence of seven svaras

“consisting of 7”

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16
Q

shruti

A

interval b/w svara and the adjacent pitch
microtonal division

defined by Natyashastra as smallest interval the ear could discern; used shrutis in conjunction w/ ideas of consonance and dissonances

each svara consists of 2-4 shrutis

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17
Q

gamaka

A

profusion of slides, turns and flourishes
applied fluidly in the context of raga phrasings
learned orally from teacher

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18
Q

notation (syllabic)

A

not intended to convey all the nuances of the performed music

a tool to trigger a student’s memory for what has been orally learned/to record the basic outline of a piece

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19
Q

guru

A

from Sanskrit
master
a teacher, spiritual guide and model for the student’s life

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20
Q

shishya

A

from Sanskrit
disciple
“taught”

initiated w/formal ceremony, becomes representative of the guru’s artistic lineage for life

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21
Q

ustad

A

in Urdu
master/teacher

also refers to professional hereditary musician or other master of a traditional craft

commonly given to a senior master musician, usually a Muslim, by general consent

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22
Q

shagird

A

in Urdu, the disciple

23
Q

Pandit

A

“scholar”

often given to senior Hindu musician, by general consent

24
Q

Raga Yaman

A

raga of the early evening
thought to evoke delicate moods of love
uses all natural pitches, except for tivra ma

25
Q

dhrupad

A

dhrupad singer most prestigious musicians in pre-modern court centers of north india

long, sustained notes and a strong voice

improv is methodical and systematic, first variations are slow and restrained, gradually gains speed

evokes dignified and refined musical environment, reminding audiences of great patrons and singers of past, and long legacy of Hindustan music in the courts

26
Q

Tansen

A

legendary dhrupad singer

said to be able to light a fire when he sang Raga Dipak

27
Q

sthai

A

1st line of the composition

28
Q

antara

A

2nd and final line of pre-composed part of the performance

melody reaches higher octave

29
Q

pakhavaj

A

premier drum of pre-modern North India court music
ancestor of modern tabla

barrel drum held horizontally and played by both hands
strong ringing sound, deep booming pitches

30
Q

Chautal

A

tala cycle of 12 beats

31
Q

theka

A

“support”
helps to express tala
specific set of strokes played on the tabla

32
Q

khyal

A

predominant vocal genre of Hindustani classical
elaborate flourishes and flowing style
“imagination”
quick movements and free-flowing approach to improv

slow-tempo composition & variations, = bada khyal

fast composition = chota kyal

lyrics often speak of love, and allude to both human love and bhakti devotion

33
Q

tabla

A

prevalent drum of Hindustani classical
bell-like tone, expressive intonation

keeps tala cycle, also ornaments and complements the singing

34
Q

sam

A

1st beat of tala cycle

35
Q

mukhra

A

this phrase is the “face” of the khyal

phrase you begin tal with

beginning of the sthai is used as the theme to which variations returns

36
Q

vistar

A

“expansion”
flowing, melodious improvisations

float around and across beats of the tala as beautiful combos of raga’s pitches

singer sings long sustained notes and explores raga in winding, delicate phrases

37
Q

tan

A

fast-running improvisations

38
Q

sarod

A

plucked instrument held across the lap, played w/ triangular plectrum

meanas “music” in arabic

modification of the rabab, an instrument of similar shape from central asia

wide neck covered in chrome metal plate, has no frets

has distinctive punchy sound

39
Q

sitar

A

developed out of long-necked fretted instruments

wide neck, has ringing for sustained notes

arched metal frets allow player to pull melody string to side and produce many pitches on a single fret

wooden face backed by a resonator made of a half-gourd

40
Q

alap

A

free-rhythm section of performance
“conversation”

improvised, no drum accompaniment, instrumentalist explores phrases of the raga w/o rhythmic constraint

requires thorough knowledge of the raga and precise intonation

41
Q

gat

A

composed section of an instrumental performance

short, consists of sthai and antara, and is followed by variations

42
Q

tihai

A

“group of 3”
phrase repeated 3 times with a gap of equal duration b/w each repitition

ends precisely at intended point of the tala cycle

43
Q

thumri

A

semi-classical genre
songs in poetic Hindi about love
sung in “light” ragas and in talas
talas can be improvised on more freely than pure classical ragas

sung in melodious style w/focus on interpreting words of the poem

some thumri specialists acted out lyrics using hand gestures and facial expressions

44
Q

ghazal

A

type of rhyming poetry originating in Persian language
series of rhyming couplets

speaks in male voice about agony of love, celebrates irony that the suffering of a lover is the highest calling in life

2 short liens composed in specific poetic meter end in a rhyme, same end-rhyme is used in other couplets of sequence

sung in special mehfils or semi-classical music; the sung ghazal is one o the major song types of North India

appeals to audiences who savor the poetic content and appreciate refined history that ghazals represent

45
Q

she’r

A

word for each 2-line couplet in a ghazal

46
Q

mehfil

A

“gathering”

ghazal poetry is recited in special mehfils

47
Q

tintal

A

most common tala in Hindustani music

medium tempo

48
Q

7 Svaras

A

Sa Re Ga Ma Pa Dha Ni

49
Q

singing in sargam

A

when pitches are sung using their names

50
Q

12 possible pitches in Hindustani system

A 
Sa
Komal Re, Shuddh Re
Komal Ga, Shuddh Ga
Shuddh Ma, Tivra Ma
Pa
Komal Dha, Shuddh Dha
Komal Ni, Shuddh Ni
51
Q

an octave has ___ shrutis

A

22

52
Q

meend

A

slide

53
Q

murki

A

knot

54
Q

gamak

A

forceful approach to a svara

MUSC 063 (1 decks)

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