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Music as a World Phenomenon- Week 4

by: Kathryn Notetaker

Music as a World Phenomenon- Week 4 Mus 22121

Marketplace > Kent State University > Music > Mus 22121 > Music as a World Phenomenon Week 4
Kathryn Notetaker
GPA 3.3

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Notes from week 4.
Music as a world phenomenon
Marjorie T. Rounds
Class Notes
Music History, world music, southasia, India
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This 3 page Class Notes was uploaded by Kathryn Notetaker on Sunday October 2, 2016. The Class Notes belongs to Mus 22121 at Kent State University taught by Marjorie T. Rounds in Fall 2016. Since its upload, it has received 11 views. For similar materials see Music as a world phenomenon in Music at Kent State University.


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Date Created: 10/02/16
Music as a world phenomenon Week 4 South Asia- India (North & South) Pakistan  test  Tuesday: practice quiz, Exam on oct 4 also when written exam due  Australia, new guinea, north asia, south asia  listen to cd 1 track 1, cd 1 track 2, track 5  go through list and figure out if cultural or musical  figure out capsule  identify pictures  mridangam  santur  sarod  sitar  tambura  essay portion  answer each one  found in ch. 2,4,5,8  due when listening exam  ask for powerpoint  North India  Major cities: Mumbai (Bombay), New Delhi, Lucknow  Independent from british in 1947  mahatma Gandhi (1869-1948)  World’s largest democracy  caste system  Disparity of wealth  Religious pluralism  Hindustani Raga- north Indian culture  first impressions  dreamy aura  boing drum  Tambura  fretless plucked lute  four strings  pillar pitch tuning  aural incense  played by a shishya or vocalist  Sarod  fretless plucked lute  3 sets of strings  melodic  drone/rhythm (Jhala)  sympathetic  Calfskin resonator face  Raga performance  tuning system- 22 pitches  raga or rag- atmosphere  mode: framework for improvisation and composition  scale, ornamentations melodic patterns, hierarchy of pitches etc  rasa (mood), time of day, “magic”  Melodic form  alap  free rhythm, all improvised  ascending melodic range  increasing rhythmic density  jor-jhala  Gat  metered composition with improvisation  drum enters  second rising range and increasing density  Tabla  pair of hand drums  smaller drum-tabla  tuned to central pitch  larger drum-baya  bols- drum language  theka- rhythmic patterns  Tala  rhythmic cycle  drummer and audience keep the tal  drummer stretches the beat with improvisation  Sitar  more frets  Cultural considerations  oral tradition  guru-shishya  a ceremony takes place before first lesson  Rasa: “Mood” across the arts  how music and art can pull out different feelings in people  Ragamala  Star artists  Ravi Shankar  Flexible time  improvisatory  if they say a concert starts at 8, it may start at 9  South India  Carnatic  Major cities  Hyderabad, Bangalore, madras  Carnatic culture more ancient  predominantly Hindu  track 6, CD 1 classical song  had a gaat and alap  has a drone as well  has vocals, the other is instrumental  has violin- imitation  First impressions  aural incense  melismatic vocalist with imitating fiddle  Aural analysis  melody: Vocal  imitation: Violin  Rhythm: Mridangam  Drone: Sruti Box  Carnatic instruments  violin  used a lot  Mridangam  2 headed drum  very dry  not much pitch changing  Kriti  hindu devotional poetry set to music  like hymns  composed skeletal melody  increased ornamentation  Complex raga and tala systems (key & meter)  some 36,000 possible raga  175 variations of tala  Sri Tyagaraja (1767-1847)  devotee of hindu god rama  prolific composer  known for writing 300+ of kriti  aradhana festivals


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