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MUSC 128 > September lectures > Flashcards

September lectures Flashcards

1
Q

What are the three most general stages of music in context of humanity

A
  • continuity with humans and animals
  • association with culture and location
  • the music industry (post phonograph)
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2
Q

What is the euglena obtusa , and why should we care about it?

A
  • single celled organism that rises to the surface to consume carbon dioxide when the tide goes out, and burrows into the mud consumes algae when the tide comes in
  • It has an internal clock—a form of rhythm
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3
Q

What is biophany?

A

the soundscape of the animal world

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4
Q

What is an acoustic niche?

A 
he sonic (frequency or timbral) bandwidth  occupied by an organism’s vocalizations in their environment 
THE SOUNDS THE THING MAKES IN ITS ENVIRONMENT
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5
Q

What are the three stages of natural selection?

A

replication variation selection

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6
Q

what is Evolutionary Niche

A

the set of things that allows a species to survive against others - the prey it eats, the living space it occupies etc.

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7
Q

what is Niche Construction

A

the process of an organism’s impact on its environment (and other niches)

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8
Q

what is co-evolution

A

organisms evolve to exert pressures on each other’s niches (ie bees and flowers

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9
Q

what is feedback

A

mutual influence of organism and environment, or organisms on eachother

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10
Q

what is feedforward

A

disturbance of the feedback loop from an outside source like an earthquake

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11
Q

Four evolutionary advantages of sound as a medium of communication

A

1) travels fast day or night
2) can be detected at a long range
3) goes around obstacles
4) encodes complex and changing messages

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12
Q

What are the four uses of sound that evolved for functional reasons

A

1) territoriality and defence
2) mating
3) group/social cohesion
4) unknown

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13
Q

What is analogous function

A

evolved to fulfill an equivalent function

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14
Q

What is homologous function

A

evolved from a common ancestor

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15
Q

Humpback whale song

A
  • taught from parents to youth
  • shared within a pod or between pods
  • varied and extended in each generation
  • made of small repeating phrases
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16
Q

Gibbon (primates) music

A
  • solo/guet songs
  • monogamous male/female couples
  • convey info about territory, mating, warning of danger, identity, location
  • song structure differs by gender species and individual
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17
Q

How do stone tools suggest cultural evolution?

A

planning, design, technology, shared knowledge and symbolic knowledge

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18
Q

What is proto-music? (HMMMM)

A

H-holistic (complete messages)
M-multimodal (combined gesture and sound)
M-musical (rhythmic, collaborative)
M-mimetic (imitating nature)
M-manipulative (trying to get a desired behaviour in another)

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19
Q

Five reasons that music is adaptive (necessary for evolution and survival)

A
  1. universality
  2. costliness
  3. pleasure
  4. juvenile predisposition
  5. cultural importance
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20
Q

Obstetric dilemma problems

A

brains are big, but the birth canal was more narrow because humans walked upright. The gestation period was still a long time

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21
Q

Obstetric dilemma solutions

A
  • separation of the pubic symphysis
  • skull is compressible
  • the brain continues to grow after birth
  • infant helplessness necessitates parent-child bonding
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22
Q

the six strands of Dissanayake’s theory

A
  1. Obstetric dilemma
  2. Mother-infant interaction
  3. mother’s signals reinforce affinitive neurology
  4. Ritualized behaviour between baby and mother
  5. proto music from mother
  6. Ceremonies are derived from porto-musical predispositions
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23
Q

What was music for in traditional cultures?

A
  1. Social bonding
  2. Aposematism (warning prey)
  3. sexual selection
  4. work
  5. parent-infant bonding
  6. socialization/play
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24
Q

5 stages of cultural musical history

A
  1. Nomadic hunter-gatherer
  2. ancient agricultural
  3. high classical
  4. modern
  5. global
25
Q

Nomadic hunter gatherer society characteristics

A
  • egalitarian social structure
  • communal music making
  • solitary activities
26
Q

ancient agricultural society characteristics

A
  • sedentary domestic lifestyle
  • crops and livestock
  • first writings
  • group daily tasks
  • for passing time
27
Q

high classical society characteristics

A
  • empires
  • court employed musicians
  • treatises
  • technology
28
Q

modern society characteristics

A
  • cultural exchange
  • print technology
  • public | performer
29
Q

Global society characteristics

A
  • the internet, technology, electronic instruments, capitalism, copyright, colonialism and post colonialism
30
Q

4 musical universals

A
  1. singing and songs
  2. scale system
  3. Hierarchical system of rhythm organization
  4. repetition
31
Q

What are the three qualities of sound

A
  1. pitch
  2. Timbre
  3. Loudness
32
Q

What are the seven aspects of pitch?

A
  1. Frequency
  2. octave
  3. pitch class
  4. scale
  5. interval
  6. Step
  7. leap
33
Q

Is the tuning of most scales standardized or unstandardized?

A

unstandardized

34
Q

Differences between music and speech?

A
  • music uses discrete pitches, speech uses discrete timbres
  • music uses measured/unmeasured rhythm, speech uses stress/syllable based rhythm
  • music has no precise meaning, speech does
  • speech has grammar/syntax, music doesn’t
35
Q

What four things are both music and speech

A
  1. tonal languages (mandarin, ewe, mazateco)
  2. poetry
  3. drum languages
  4. mneumonic music-learning systems
36
Q

What experiences reinforce linearity?

A
  • aging
  • the uniqueness of experience
  • memory
37
Q

What experiences reinforce NON linearity?

A
  • seasons, orbits

- bodily processes

38
Q

Definition of musical time

A

the sensation of present, past, and future in music

39
Q

Definition of timepoint

A

a particular instant

40
Q

Definition of duration

A

the time that passes from an earlier timepoint to a later one

41
Q

Definition of pulse or beat

A

a series of durations that are perceived as equal

42
Q

Definition of rhythm

A

a sequence of durations

43
Q

Definition of measured rhythm

A

Rhythm giving rise to perception of a beat

44
Q

Definition of unmeasured rhythm

A

rhythm not giving rise to perception of a pulse

45
Q

Definition of meter

A

two or more synchronized streams of beats

46
Q

Definition of tactus

A

the fastest beat that can be comfortably felt physically

47
Q

Definition of cycle

A

the repetition of a series of events in the same order

48
Q

Definition of period or cycle length

A

the duration of a cycle measured in beats or (breaths etc.)

49
Q

Definition of monophony

A

music of only one source

50
Q

Definition of heterophony

A

2 or more things playing almost the same thing

51
Q

Definition of tiling

A

alternation between parts so it seems like on part

52
Q

Definition of Drone polyphony

A

on part is held on the same note, the other has the melody

53
Q

Definition of homorhythm

A

parts have the same rhythm, different pitches

54
Q

Definition of counterpoint

A

EQUALLY PROMINENT parts that are completely different

55
Q

Definition of imitation

A

same part, staggered time

56
Q

Definition of interlocking

A

really fast alternation between parts

57
Q

Definition of melody and accompaniment

A

one prominent melody, one supporting voice

58
Q

Definition of polyrhythm

A

two or more different rhythms happening simultaneously (like counterpoint for rhythm)

59
Q

List the ten texture terms

A
  1. monophony
  2. heterophony
  3. homorhythm
  4. tiling
  5. drone polyphony
  6. counterpoint
  7. imitation
  8. interlocking
  9. melody/acc
  10. polyrhythm

MUSC 128 (3 decks)

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