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F-111 Exam 3 Study Guide

by: Matthew Beres

F-111 Exam 3 Study Guide

Marketplace > Indiana University > F 111 Exam 3 Study Guide
Matthew Beres

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This 4 page Study Guide was uploaded by Matthew Beres on Thursday February 12, 2015. The Study Guide belongs to a course at Indiana University taught by a professor in Fall. Since its upload, it has received 74 views.


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Date Created: 02/12/15
F111 Exam 2 Study Sheet 4 Hindu Vedas Sacred books of prayers incantations and rituals still chanted today Musicians say India s classical music comes from the chanting of the Vedas by priests 4 expressive means of jingju The four expressive means of jingju are singing speech acting and fighting 3 layers of Carnatic music The three layers of Carnatic music include Sruti Raga and Tala Alapana Unaccompanied improvisation free rhythm starts on main note sa and moves up and returns home Bansuri Indian ute made from bamboo beiguan ensemble Band of Wind and percussion players Who perform outdoor ritual music predominantly at funerals and temple festivities bhajan Religious Indian song devotional in nature and relatively simple technically that is sung as an offering to God Also usually last 30 minutes of Carnatic performances relaxing part bharata natyam Classical South Indian dance tradition BollywoodHindi Film Musiccine music Popular music and dance movies filmed in India Carnatic concert outline A concert in South India is marked by a string of songs each in a specific raga and tala The performance builds up to a main item Other pieces build and dissipate tension before and after the main item Includes the varam which is the introductory song then multiple kriti that build up to the main item Then more relaxed music Carnatic performance The Carnatic performance combines precomposed and improvised sections There are solo vocalist or instruments accompanied by supporting musicians They are usually held at sabhas More relaxed and informal than Western classical conerts 153 hours long With no breaks and the audience usually participates context Carnatic vs Hindusthani classical music The Carnatic style of the south contrasts With the Hindusthani music of the north Carnatic is built around an immense repertoire of precomposed Hindu devotional songs The musical texture is more busy and improvisations fall into blocklike sections Chinese instrument classi cation system Chinese Cultural Revolution Confucianism from the writings of Kong Fuzi argued that good governance required a fixed social hierarchy in which loyalty owed upward from wife to husband son to father common man to ruler and ruler to heaven counting tala Indian time cycle which can be in 4228 or 322 or 12 Marked by hand claps Daoism School of Chinese philosophy dragon poolphoenix pond erhu general features of Chinese musicculture general features of South Indian classical music culture general role types in jingju Han Chinese Harmonium portable small reed organ British in uence on Indian music impact of communism on Chinese music jingju model operas Chinese opera gurugurukula system Indian apprenticeship with rigorous discipline and the guru was the teacher kalpana svaras kriti the principle song form of South Indian classical music Individual song compositions MahabharataRamayana main item structure in Carnatic music Mridangam South Indian drum played in Carnatic music and is the principal accompanying percussion instrument monophony wdrone nattuvangam rhythmic syllables that a specialist sitting in the musicians sings out during Carnatic Classical music to match the intricate footwork of the dancer onomatopoeic syllables syllables that sound like the sounds they represent Kwang sounds like you are striking a gong Chinese percussion instruments of the beiguan ensemble qawwali qin or guqin Chinese instrument that is a long convex piece of wood that has 7 strings Usually played as a solo raga defined in ancient text as that which colors the mind This is an expressive entity with a musical personality of its own Gives off melodic bits and pieces Rasas The nine traditional emotions in which are love anger sadness fear disgust wonder heroism laughter and religious devotion Plus a possible tenth utter peacefulness ruan sabha cultural clubs that bring to their members and the general public music dance plays lectures and even an occasional movie shan ge contemporary Chinese Collected and preserved by folklorist Taught at universities tests rewritten to fit Chinese political history Singers likely to know songs from many regions shan ge traditional Young people would spend much of their time working in the fields and would sing shan ge which is Chinese folk music Outdoor songs for agricultural work irting and courting solf ge slokam religious verses chanted recitativestyle in ragasmelodic of the singer s choice socialist realist style sollukattu spoken syllables that duplicate drum strokes and rhythmic patterns solo piano music Chinese solo tradition More tempo with a steady beat and has close ties to European classical music sruti the drone layer in Camatic musical texture sruti box the instrument used in the sruti layer and it gives a continuous reed organ sound almost like bagpipe sound suona svara a note in Carnatic music that is different from the fixed more stable note in Western music This note could be a tiny constellation of ornamented pitches Tala The time cycle The organization of time in music In Carnatic music today there are only four talas that are predominate in common practice Beats that are grouped into regularly recurring metric cycles tambura tanam a highly rhythmic exposition of the raga It is usually played or sung only once in a concert and is placed after the alapana and before the kriti tani avartanam tone languages this means that the pitch high low rising falling at Which a syllable is pronounced is as important in determining its meaning as its combination of other components veena Guitarlike Southern Indian instrument With three drone string and four playing strings Xiao Usually in a duo With the qin this is a vertical bamboo ute


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