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Music Quiz 2 Study Guide
Music Quiz 2 Study Guide
Terms
Generally know instruments for the genre you are describing in your essay
Andean folkloric music: Modern, urban, cosmopolitan transformation of the musical
traditions of rural, indigenous Andean peoples. Features instruments like the kena (flute),
siku (double-row panpipe), charango (strummed chordophone), and bombo in stylized
and polished arrangements that promote a kind of constructed, folklorized form of
Andean authenticity.
Big band mambo: Highly syncretic mambo style of the 1950s identified with New
York-based bandleaders such as Tito Puente, Machito, and Tito Rodriquez (mambo
kings). Incorporated more Afro-Cuban and American jazz and popular music elements
than did the earlier Cuban mambo style
Cancin Nueva/Canto Nuevo: movement and genre within Latin American and Iberian
folk music, powerful role in social upheavals in Portugal, Spain, and Latin America
during the 1970s and 1980
o First created in Chile in 1960s Pinochets Chile
o Cancion Nueva: genre outlawed, became Canto Nuevo, mid 70s
o Went to safe places to play music from Baroque era and insert political poetry
clave rhythm: fundamental rhythm of Latin music; comes in four different varieties;
often played on claves, but even if not actually played its presence is always implied
Ostinato: short, recurring musical figure; may be repeated exactly or with variations as
the music unfolds. Generally, the smallest unit of musical organization upon which
formal musical designs are built
Riffs: short, recurring patterns (ostinatos) that are repeated over and over, often with
variations, and layered one atop the other, important feature of arrangements in mambo,
salsa, and other Latin music styles
Rumba: Traditional Afro-Cuban secular dance music featuring singing and music played
on conga drums and other instruments
Santeria: Afro-Cuban religion based on traditional West African religious practices of
the Yoruba people syncretized with Catholicism. Sacred ritual music employing the bata
drums is centra (aka relga de ocha)
Son: Afro-Cuban dance-music style that gained popularity from the 1920s onward,
influencing related styles such as danzon, danzon-mambo, and mambo and prefiguring
later developments like salsa and Latin jazz. Also historically important as a symbol of
Cuban nationalism. Central historical figure was Arsenio Rodriguez. Distinct from the
various Mexican genres of Son
Generally know different eras in China:
o Han Dynasty: 202 BCE-220 CE
Confucianism was established as foundation of social order
o Tang Dynasty: 618-907 CE
Pipa was brought to China via the Silk Road
Women began playing the zheng
o Ming/Qing Dynasty: 1268-1644
Resurgence in the popularity of zheng
Chinese opera was developed and flourished during the Ming, distinctive
playing techniques developed in each region in imitation of regional
languages and dialects
Qing: each regional style had its own yun.
o Communist China: 1949-1965
Mao Zedong and CCP rise to power, strict on arts
Glorification of Mao Zedong and CCP
Rationalization of CCP policies
Emancipation of peasant masses
Ideal of building socialism for China
o koto: brought to Japan from China during the first few years of Nara period (710784), Japanese gagaku (elegant music), does not accompany dancing
o Japanese stringed instrument, national instrument of Japan, 13 strings over 13
movable bridges
o Adapted from zheng, instrument of the wealthy
Gayageum
o Korean zither-like string instrument with 12 strings
o Developed around 6th century in the Gaya confederacy by King Gasil
Peking opera
o Origins in late 18th century but did not fully crystallize until 19th century
o Highly stylized
o Ensemble features small, two-string fiddle with piercing timbre called the jinghu,
as well as other chordophones such as the pipa. Additional melodic instruments
and a percussion section (gongs, cymbals, clappers) was included
o Leader of ensemble performs on drum called danpi gu
o Golden age in early 20th, decline of Qing and early years of Republic era
o Powerful vehicle of social and political change
o During communist era, either radically changed of discredited
o Contemporary themes, plots, and costumes were used to modernize it and
heightened speech was replaced with Mandarin speech
o New form supported Chinese communism and included Western instruments and
harmony (The Red Lanterns)
Yun: Distinctive regional character of a piece of music or particular musical style (eg
Shandong yun vs Henan yun in zheng music)
Yijing: Designated emotional quality of a musical work, usually complex and
multifaceted rather than straightforward
Baban form: Chinese musical form with eight melodic phrases, most traditional solo
zheng pieces are in this form (eg Autumn Moon over the Han Palace)
Uighur: minority in Xinjiang China, tradition of muqam that collectively constitutes the
core foundation of Uighur musical art, Dolan were poorest class, served as indentured
servants during Chinese imperial rule.
o Muslims who converted from Buddhism, musical traditions draw from Persian,
Arabic, and Turkic sources, Silk Road went through here
Tibet:
o Communist Chinas gradual takeover beginning in 1950 and intensifying in 1956
led to brutal persecution of Tibetans, especially Tibetan Buddhist monastic orders
o Dalai Lama fled Tibet to India in 1959.
o China was accused of committing genocide against Tibetan people by
international council in 1961
o Dalai Lama and Tibetan Buddhists remain political refugees, chants and music
have been subject of interest among ethnomusicologists and scholars of religion
o Ex: Drepung Gomang Monastery, chant called gyu-ke, monks produce lowpitched powerful vocal sound rich in overtones.
Each voice produces multiple tones (multiphonics)
Tiananmen Square
o Began as a peaceful protest led by college students and other youth who were
frustrated by institutional corruption, materialism, widening social stratification,
and bankrupt ideology of late 1980s open China under Deng Xiaoping and the
CCP
o Army tanks rolled in and opened fire, symbolized the troubling vestiges of
authoritarian rule
People
The traditional musical instrument used in tango performances is the bandoneon, an accordion
style instrument brought over from Germany.
In the early 1900s, tango began to spread throughout Buenos Aires popular culture. This was
met by resistance by the elite classes, who viewed the sexual style of dance and music to be a
corruptive force. In truth, the male dominated dance of embraces and passionate steps obviously
created a sexual image. However, this only fueled its popularity and it soon spread throughout
Argentina and Europe.
How did the Latin dance music of the United States in the 1950s and 1960s grow out of a
variety of European- and African-influenced Cuban genres? How did these genres
influence the acceptance of other Latin American musics in the US in the late 1960s and
beyond? Give specific genres, artists, or pieces of music as examples.
Compare and contrast two of the three major Chinese instruments we discussed (zheng,
pipa, and qin) in terms of construction, sound, historical origins, repertoire, and
performance contexts. How do modern performance practices for these instruments
compare to performances in another specific historical period?
Zheng
Construction: It is a board zither chordophone, consisting of a series of strings laid lengthwise
across and wooden frame that is connected to a resonating chamber. The oldest forms of the
instrument had five silk strings, while the modern instrument consists of either 16 or 21 strings
made of metal wound nylon. Movable bridges allow for pentatonic tuning.
Sound: The zheng has a mandolin like timbre, Chinese harp or piano
Historical Origins: The zheng first appeared during the Qin dynasty (3rd century BCE) and is
thought to be invented more than 2,500 years ago, possibly in southeastern China, back to the
age of Confucious. Today, it is popular in PRC, Taiwan, and Hong Kong. Legend has it that
two sisters in the imperial palace during the Qin dynasty broke the se zither in half, gave rise to
the instrument. Originally played in rural areas, the zheng was incorporated into ensembles and
was employed in wide range of entertainment and ritual contexts. Each regional style of zheng
music has its own character called yun.
Repertoire: The zheng can sound like waterfalls, horses, or thunder, through the use of gua-zou
(glissandos), which are rapid ascending or descending sweeps. Tremolo and vibratos are also
used as musical ornamentation. Its usual range is four octaves. The zheng used to be played with
one hand but now played with two. It is typically played by soloists who employ lots of
ornamentation.
Performance Contexts: Solo zheng playing has been associated with the governmentsponsored, conservatory music culture of mainland China since the 20th century. After 1958, a
more virtuosic style was seen and the zheng became more women dominated. It was played in
ensembles during the Tang dynasty. During the Ming dynasty, the zheng became a standard item
in house and was used to accompany regional Chinese opera.
Pipa:
Construction: The pipa is a pear-shaped plucked chordophone with four strings.
Sound: The pipa has a banjo-like timbre.
Historical Origins: The pipa has close historical context with the zheng and is generally thought
to have a Central Asian heritage. From Tang times forward, the pipa was closely associated with
the zheng and the two were played together in duets, ensembles, and along with poetry.
Repertoire: Players of the pipa often employ dramatic tremolo rolls. Wu (rhythmic and fast,
battle scenes with sound effects), or wen (lyrical and slow, love sorrow or nature), and xiao
(small pieces with one section) and da (large and multiple sections) is often used to describe its
performance. Throughout the years, its range has developed from pentatonic scales to full scales
Performance Contexts: The pipa was the principle instrument in the imperial court during the
Tang Dynasty and had a close association with Buddhism.
Both the zheng and the pipa are chordophones and have similar playing ornamentation. In
addition, their history and performance has been closely linked.
Choose one of the following eras in recent Chinese history: Republican Era, Peoples
Republic of China (1949-1965), Cultural Revolution, or Period of Openness. Explain the
political situation of China at the time. How was this political situation reflected in the
performing arts? Make reference to at least one musical example to support your points.
Peoples Republic of China (1949-1965): In 1949, Mao Zedong and the Chinese Communist
Party rose to power. Mao Zedong stated that all music and arts in New China had to promote
the socialist state and glorify him and his political party. Communist songs were common, such
as On the Golden Hill in Beijing, and were used to promote Chinese policies and ideals.
Under Mao Zedongs rule, the arts were controlled by the government, and organizations were
created to establish music for the masses that would praise the communist government and its
achievements.
Conservatories erupted throughout China, in which both Western and Chinese music was taught.
Traditional Chinese instruments and music became more prominent in such environments.
In addition, Mao Zedong encouraged the collection and research of traditional folk, minority, and
historical traditions within Chinese music. However, researchers were sent out into China to
help reform such music and modernize it to fit the communist agenda.