1. World Music What to Listen For in Music Around the World
Much of the music around the world is part of an oral tradition
All cultures use both voice and instruments
Music is a reflection of a culture. To understand the music, we need to understand the role it plays in that culture
MUSI 1000Y

2. World Music Japanese Shakuhachi Music Bunraku puppet theater
Akin to Western opera
Only one performer
Kabuki theatre
Played by an all-male cast
Dancing, lively drama
3 different instr. ensembles
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3. World Music Japanese Shakuhachi Music, Koku-Reibo
Used in religious ceremonies by Zen Buddhist monks
Fuke-Zenji ringing small hand-bell
Slides, shades of colour, dynamic variations
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4. Japanese Shakuhachi Music
Japanese Music Changes over Time
Feudal Period: Buddhist chant and Shinto songs and prayers; courtly instrumental music and Noh theatre
Edo Period: more urban, middle class; entertaining
Modern Period: popular songs and Western influence
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5. Javanese Gamelan Music Gangsaran-Bima kurda-Gangsaran
Ceremonial music
The gamelan in Indonesia is regarded with reverence and special spirituality
Requires cooperation of many people submerging their own personalities into power of a unified whole
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6. Javanese Gamelan, Gangsaran-Bima kurda-Gangsaran
Gangsaran means “achieving one’s purpose” and Bima Kurda means “angry hero”
Mostly metallic instruments
Two drums
Stylized dance
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7. African Drumming and Mbira Music
People in North American tend to think of Africa as a single entity—over simplified
Broad cultural division between North Africa and sub-Saharan
Certain general traits of sub-Saharan music
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8. African Drumming and Mbira Music
Music is strongly associated with dance
Numerous instruments
Favour drums and percussion
Polyphonic (multiple sounds)
Repeated, varied and improvised melodies
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9. Mandarendare (A Place Full of Energy)
Mystical music used to communicate with the spirits of ancestors
Dawn ceremony
3 layers of sounds
Regular bass
Two interlocking layers above
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10. South India: Sarasiruha
Saraswati
The goddess of Music and Learning
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11. South India: Sarasiruha
A concert is made up of a series of as many as performance segments each in a different raga and based upon a different composition
“Sarasiruha” is a song by the 19th Century composer Puliyur Doraisamy Ayyar
Performer is Ramachandra Iyer playing a veena
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12. South India: Sarasiruha
Instruments
Veena: a seven-stringed, plucked lute with ornate body, inlaid deer horn or ivory, carved from jackwood
Natural or papier-mache gourd is attached to the upper neck as a resonator
Brass frets are set chromatically
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13. South India: Sarasiruha
Veena
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14. South India: Sarasiruha
Mridangam
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15. South India: Sarasiruha
The Ensemble
One of the marvels of this tradition is that instruments and musicians can be added to each functional layer
Melody
Drone
Rhythm
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16. South India: Sarasiruha
Sruti (the Drone)
The drone, or sruti, marks the tonal center—the center of gravity—for the melody and its raga
In karnataka music the notes used for the drone are the tonal center and the perfect fifth above it
The dissonant tones tend to “pull” toward tones that blend with the drone
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17. South India: Sarasiruha
Raga (the Expressive Mode)
The veena begins alone (without the drum) in a free-flowing melodic improv called atapana
No sense of beat or time cycles
Pauses filled in with drones
Slides, pulls and tremolos
Intervals, scales, and colours very different from the Western tradition
MUSI 1000Y

18. South India: Sarasiruha
Tala (the Time Cycle)
At 5:42 the kriti begins (composition)
New element added: tala
Heard by the striking of the drone
The tala in this case is the Adi
Once entered, will continue until the end
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19. South India: Sarasiruha
Musical Structure: Improvisation
Kalpita sangeeta: precomposed music
Manodharma sangeeta: improvised music
Four major types of improv in karnataka
Alpana
Tanam
Niraval
Svara kalpana
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20. South India: Sarasiruha
Musical Structure: The Kriti
All compositions in karnatka music are songs, melodies with words
Three main sections
Pallavi (“the sprouting,” “blossoming”
Anupallavi (“after the sprouting, blossoming”
Charanam (“verse” or “foot”)
Chitta svaram or Svara sahityam (Optional)
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21. Sioux Grass Dance
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22. Sioux Grass Dance Piercing falsetto Swooping strain Driving beat
Multiple, independent meters
Heavy portamentos (sliding voices)
Vocables (nonsense syllables)
                  
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23. Sioux Grass Dance
Form
½ A A B A8 B A8
½ A A B A8 B A8 B A
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24. Sioux Grass Dance Dancing Foot: left right right left left right
Mov’t: step toe-heel change toe-heel change toe-heel, etc
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25. Zuni Lullaby
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26. Zuni Lullaby
Recorded in 1950 by Lanaiditsa on the Zuni Reservation in western New Mexico
The importance of repetition
Each textual phrase can be used with either musical phrase except for “my boy” which is always on an “A”
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27. Zuni Lullaby Hm atseki My boy Okshits’ana Cottontail little Poket’sana
Jackrabbit little
Kochits’ana
Rat little
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28. Zuni Lullaby 1. My boy, little cottontail,
Little jackrabbit, little jackrabbit
2. My boy, little cottontail,
Little rat, little boy, little boy
3. My boy, little jackrabbit,
Little cottontail, little cottontail
4. My boy, little jackrabbit,
Little cottontail, little rat, little rat
5. My boy, little jackrabbit,
Little cottontail, little rat, little rat (3 times)
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29. Zuni Lullaby A A B B A A A B B A A B B B A A A B B (three times)
Phrase Structure
A A B B
A A A B B
A A B B B
A A A B B (three times)
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30. Yeibichai Song from the Nightway Ceremony
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31. Yeibichai Song from the Nightway Ceremony
Phrase Structure
X Y Z A A ½ A ½ A B V W
A ½ A ½ ½ A ½ A B V
Y’ Z
Y ½ Z A A ½ A ½ A B V W
Y’ Z
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32. Yeibichai Song from the Nightway Ceremony
Call of the Yei (gods)
The teams compete and the best combination of costumes, clowns, singing and dancing receives a gift from the family giving the ceremony
The representation of the presence of the gods at the Nightway brings god-power to the ceremony and helps the sick person get well
MUSI 1000Y