MUSIC 025: 103, Spring 2006
WORLD MUSIC
Study Guide for Exam #1
Exam #1 on March 9th will be in 3 parts:
l) Objective section (multiple choice, matching questions, short essay)
2) Listening section (multiple choice and possibly short answer)
3) Video excerpt analysis (brief comparison of two performances and their context)
Chapter 1 and Introductory Notes:
What is a music-culture? What is an ethnomusicologist’s approach?
4 Categories of musical instruments (See Handout)
Chapter 3: AFRICA (pp. 87-121; 127-149). Online Lecture Notes; also <web2.unt.edu/the/dso> Performing History and Celebrating Life in Africa.
Introductory Lecture Materials (history and ethnography):
--Geographic areas of Africa (Music of North Af. vs. coastal W. Af)
--the Berlin Conference of 1885 (Scramble for Africa)
--Triangle trade
--3 principal regions of slave trade in Africa
--General characteristics of Sub-Saharan African music performance
--Centralized and decentralized (types of societies)
--matrilineal and patrilineal
--Music transmission: enculturation, apprenticeship, etc.
--tonal language
Mande-speaking people (Mali, Senegal, Gambia):
--Mali Empire; Timbuktu
--Role of jali (griot/griotte)
--kora
--kumbengo
--donkilo
--electro-griot belt (Salif Keita, etc.)
Mende and Gullah connections (“The Language You Cry In” documentary film)
--Mende of Sierra Leone and Liberia
--Gullah – of coastal South Carolina and Georgia
--Lorenzo Turner
Ewe and Ashanti ( Ghana:)
--3-part West African drum model
--Ewe instruments: atsimevu – master drum; gankogui, double bell
BaAka (The Forest People of Central Africa and Democratic Rep. of Congo):
--relationship of music to lifestyle (“acoustic technology”)
--aspects of vocal style
Shona (Zimbabwe):
--bira
--mbira (mbira dza vadzimu)
--kushaura and kutsinhira
African Popular Music (and development of music industry):
--Palm wine guitar (West Africa)
--Chimurenga (Zimbabwe)
--South Africa: Ladysmith Black Mombaza. mbube music tradition
MUSIC OF BLACK AMERICA (Chapter 4, pp. 162-207). See Online Lecture Notes Also see <web2.unt.edu/the/dso> online Chapter on Blues and Jazz.
Pattin’ juba; Congo Square
Development of Blues (predecessors and effects of Emancipation)
Minstrelsy & T.D. Rice; Characters – Zip Coon, Jim Crow, Sambo
W.C. Handy
Blues: Mississippi Delta and Hill country; City blues; Urban blues
Mamie Smith and “Race Records”
Diddley bow
hiphop (four aspects of performance/culture);
“Rapper’s Delight”
Grandmaster Flash, Kool Herc and Afrika Bambaataa
Jamaican “dub”
Toasts and “the dozens”
WEB DuBois concept of “double consciousness”
II. LISTENING SECTION OF EXAM
Be able to recognize in the music: (Disc I: Tracks 1-2; 15-21; 24 and Disc 2: Tracks 1-8)
African:
ostinato
3-part drum model
monophonic
polyphonic
polyrhythmic
agbekor
mbira
kora
yodeling
time line
call-and-response (also in African American and can be heard in some Native American music)
12-beat pattern
hocket
African American:
12-bar blues
3-against-2 beat patterns
AAB form lyrics, etc.
cyclic rhythm
field holler
free rhythm (vs. fixed)
vocables (African also & Native American)
improvisation (African and Native American also)
blues “tonality”
glissando (glides) (also African)
interlocking falsetto style (also African)
“buzzy aesthetic" (also African)
scratching technique
STUDENTS WILL BE RESPONSIBLE FOR THE MATERIALS FROM AMERICAN INDIAN LECTURE
(March 3rd) on Thursday's exam: See below
ADDITIONAL TERMS FOR STUDY GUIDE for Exam #1:
MUSIC OF THE PLAINS INDIANS:
Meskwaki
Everett Kapayou
Intertribal
Powwow
Grass Dance
Listen for: (Disc 1/Ex. 3):
"tumbling strain" melody (also called "terraced" in class)
Pulsation
Duple meter
Vocal tension