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Completed Review Guide for Music in Human Imagination

by: Arely Sanchez

Completed Review Guide for Music in Human Imagination MUMH 1600

Marketplace > University of North Texas > Music > MUMH 1600 > Completed Review Guide for Music in Human Imagination
Arely Sanchez
GPA 3.3

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About this Document

The completed review for music in human imagination.
Music in Human Imagination
Dr. Randy Kinnett
Study Guide
review guide study guide music notes human imagination first exam
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This 4 page Study Guide was uploaded by Arely Sanchez on Wednesday February 17, 2016. The Study Guide belongs to MUMH 1600 at University of North Texas taught by Dr. Randy Kinnett in Winter 2016. Since its upload, it has received 633 views. For similar materials see Music in Human Imagination in Music at University of North Texas.

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Date Created: 02/17/16
primary process Symbol: what things dense timbres: (Bateson): our inner mean with a linguistic created in life expressing how way participatory we can take out dicent sign: sign performances due to ideas/imagery from affected by what it the different types of the subconscious to stands for and instruments (Mbira- the conscious without interpreted as casually bottle caps) forming them into linked to its object clear timbres: created language. It is also (also Pierceʼs ideas) in presentational how we can find open form: used in performances voices in our participatory because of the subconscious performances to technical skill and flow where anyone can join virtuosity (talent) (Csikszentmihalyi): closed form: used in simultaneous your concentration is presentational music participation: when at a high level like because of its more everyone is when you are technical skill making participating practicing. Everything it difficult to join sequential around you binary form: participation: disappears and the composition in 2 everyone takes a turn challenge is moderate sections (A-A-B-B) alone or smaller semiotics: study of ostinato: repeating groups to perform for signs phrase the other people sign: it stands or strophic form: music (begin to include means something, staying the same features of creating an effect in (verse after verse) presentational music) the observer verse, chorus, and less vs. more control object: stood for by a bridge are commonly of musical sound: how sign. Can be an structured. much control an artist abstract idea or the transparent texture: in the studio has when actual thing. (idea more clarity in playing back their indicated by the sign) presentational tracks (studio audio Effect: meaning of the music/performances art) sign-object relation of dense texture: usually electroacoustic music: the observer overlapping and in most developed Icon: resemblance of participatory examples of studio an object (ex: drawing performances audio art produced in of a horse and the because of variety of cosmopolitan cultural actual animal) tunings institutions Index: experience sign musique concrete: and object together pieces made from (indicated by the sign) prerecorded sounds (tape loops, cutting, speed changes, etc.) self: our body Mbira: instrument (mind+nervous played during shona system+genes) and ceremonies. it can the total collection of also be called a thumb habits that guide piano and it is played Dandanda: music that everything we think inside a bowl is danced to with and do National Dance drums, hosho, and identity: partial and Company: founded in vocals (shuramurove variable selection of 1980. A group of with no more mbira) our habits that we use people that cosmopolitan musical: to represent ourselves represented everyone. values in and how we represent It was made to revive, Zimbabwe: involves ourselves to other develop, and promote local elements people the traditional dance Zimbabwean culture: habits of and music to nationalism: what thought and practice Zimbabwe everyone would fall shared among Hosho: instrument like under after the individuals a maraca and usually national rallies. They habit: routine things played in realized they were we do Shuramurove types under the same cultural cohort: group Cosmopolitan: type of umbrella even though of people formed cultural formation they were different. around shared habits dispersed among (indexical based on similarities countries including relationship= “our of parts of the self certain types of music/our nation”) (positive/negative) population (immigrant Jerusarema: circle cultural formation: status does not dance that would group of people who matter) coordinate with share a majority of Musha: ʻhomeʼ and different situations. habits that make them also where peopleʼs Men and women had who they are ancestors are buried different dance moves Shona: Bira: a ceremony that like the field mouse music/ceremonies that lasts all night calling/ and the pelvic thrust. is mostly participatory communicating with It was counted by 8 for ancestors the dead. Music is beats and done in veneration and wants played so the most pairs or alone when as many participation participation is they were in the as possible because it reached middle of the circle. will inspire spirit Bluegrass: possession presentational stage and high fidelity tradition Caller: person calling to the spirit. (men and women split up to represent to call and response) and medium shows up participatory performance (ex: elzicʼs Farewell) • Values the number of people • No audience distinction • Thereʼs only participants and potential participants • The goal is to get the most people to participate presentational performance (ex: Home is where the heart is) • there is an actual audience • artist vs. audience strict line between them • most likely a stage, microphones for artists • the goal is to have artistry, contrast, its better to listen to • virtuosic high fidelity music (ex: live albums: concerts that happen to be recorded) • recording that gives you the illusion of a live performance • involves an ideology of dicent representation of live performance on some level • some editing involved: adding in audience studio audio art (ex: oooo) • recorded music that is patently a studio form • cant unhear the studio aspect (no illusion) • no suggestion that it could be performed live in real time • freed from the ideologies of authenticity regarding live performances 1. What are some of the ways in which anthropologists and psychologists have explained musicʼs basic purposes for humans? It can define us and can used for communication 2. What is semiotics? In what specific ways can signs operate in music? Think of examples. Semiotics is the study of signs. It can be used in music by notes (reading music) 3. What style features and values characterize participatory music and presentational music? Try to remember specific. There is a strict line between audience and performers is one of the important ones. (refer to the features above) 4. On high fidelity recordings, to what extent do we not merely capture but also create the sounds intended to be heard by the listener, not only on studio recordings but also documentary field recordings? (This is not a question about studio audio art.) What are some important reasons for this? There is a lot of editing in this kind of recording. Audience is added and other things added too. (ex: sgt. Peppers lonely hearts club) 5. How exactly is studio audio art different from high fidelity recordings? What are the main focuses of each? What are some examples of studio audio art from electroacoustic music? From popular music? What qualifies these examples as studio audio art? (definitions above) 6. What are self and identity? Culture and society? Cultural cohort and cultural formation? How are the terms in each pair distinct? (Definitions above) 7. What distinct cultural formations have we encountered in Zimbabwe? What observations can be made about? The different habits and dances and music. There is cosmopolitan, rural, urban. There are many cultures all under the Zimbabwe umbrella. 8. What is a bira? What are its salient features? How does music play a part in it? A party to call the dead. The music is all participatory and is also music the ancestors liked. 9. In what ways did the rise of nationalism in mid-twentieth-century Zimbabwe affect the significance of indigenous dance and music traditions there? There was national rallies that brought everyone together. National rallies were different groups dancing on stage in between speeches to represent different people. 10. What is old-time music? How is it distinct from other, similar traditions (such as bluegrass)? What are its cultural contexts? Old time music was devised in 1920ʼs and it was early country music. It refers to southern mountain music. (String bands) (less offensive term for hillbilly) Bluegrass has more clear timbres and more presentational. 11. What is a contra dance? What are its salient features? How does music play a part in it? It is similar to square dancing but it is danced in a line. It can play a part in it because it can be repetitive just like the dance moves.  


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