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Music in World Cultures Week Four

by: catherrinedoll

Music in World Cultures Week Four 302

Marketplace > Humboldt State University > Music > 302 > Music in World Cultures Week Four
GPA 3.82

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About this Document

These are the notes for the materials covered from February 15th to February 19th.
Music in World Culture
Class Notes
Music, World Cultures
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This 3 page Class Notes was uploaded by catherrinedoll on Monday February 22, 2016. The Class Notes belongs to 302 at Humboldt State University taught by Novotney,ED in Spring 2016. Since its upload, it has received 12 views. For similar materials see Music in World Culture in Music at Humboldt State University.


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Date Created: 02/22/16
Music in World Cultures  February 16, 2016    Africa: General    Listened to: “Afrika” by Mbongeni Ngema    Chorus translation: “Africa, you are the honey. Africa, it’s not your fault.”      Five human groups in Africa    1. Afro­Asiatic = Caucasians in the North West  2. Niger­Congo and Bantu = in the West  3. Pygmy = in the Midwest  4. Khoisan = in the South West  5. Austro­nesian = South East    Saharan Africa (North)  ­more Islamic influence    Sub Saharan Africa (South of the Sahara Desert)  ­more European and indigenous influences        Recommended Scholarship  Africa General by Alan Merriam  African Music by Kwabena Nketia        Specialist vs. Professional    Specialist:  a person devoted to one particular pursuit  highly skilled; expert    Professional:   follows an occupation as a means of livelihood  sustains their life with the activity      Emic vs. Etic    Emic: “what it means”  a point of view from inside the culture    Etic: “how it sounds:  a point of view from outside the culture      Africa General: Musical Characteristics    1. Interlock  2. Cyclical Form  3. Rhythmic Complexity  4. Dense Sound Quality  5. Core and Elaboration Parts  6. Oral/Aural Tradition    *these are characteristics that unite MUCH of the music in Africa    INTERLOCK: fitting an idea into the spaces left by another   ­can contain BOTH counterpoint & overlap    Simple Interlock: counterpoint only  Complex Interlock: contains bother counterpoint and overlock    February 18, 2016    CYCLICAL FORM: cycles are repeated over and over with no designated ending  ­repetition allows for maximum participation by non­specialists    RHYTHMIC COMPLEXITY:  Polyrhythm: the simultaneous occurrence of two or more conflicting rhythms  Mastery of polyrhythm is seen as mental health training for life in the Elway  culture    DENSE SOUND QUALITY:  BUZZ is preferred    Word for buzz in Elway translates to “shield”    CORE AND ELABORATION PARTS:   The CORE is the foundations that makes the ELABORATION possible  The core of any  music is what is required for people to participate  ORAL/AURAL TRADITION  Oral: I say it  Aural: I hear it  OBSERVATION moves to IMITATION then to PARTICIPATION  In the Western World it is objectification, then translation, then participation    


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