Musc 050 quizzes
Flashcard maker : Patrick Marsh
Who argues that electronic media, in foregrounding the imagination of ordinary people, are fundamentally reshaping the way people around the world experience everyday life?
Appadurai
T/F Today, ethnomusicology is the study of music made by people who live far away from us.
False
T/F Music in a globalized world can never be mobilized as either financial or cultural capital.
False
T/F Consumers of music in the United States cannot be confident, based on marketing alone, that they know exactly how their music (and the musicians who made it) traveled in order to reach them.
True
T/F According to Appadurai, “modernity” is best understood purely as a near-contemporary moment in time, whenever that should be.
False
T/F According to Appadurai, “modernity” is a global phenomenon – one whose products are distributed unevenly.
True
T/F Appadurai believes that imagination lacks agency, and can never be politically focused.
False
According to Appadurai, what is weakening the nation-state?
Electronic media and mass migration
five kinds of global cultural flows Appadurai suggests can enable people to transcend national boundaries:
Technoscape,
Mediascape,
Ethnoscape,
Financescape,
Ideoscape,
Mediascape,
Ethnoscape,
Financescape,
Ideoscape,
T/F Arjun Appadurai coined the term ‘glocal’
False
T/F According to Appadurai, a ‘culture’ is a monolithic group of people occupying a single space.
False
T/F According to Appadurai, it is possible for communities to produce ‘locality’ across great distances, thanks to new technologies and infrastructures.
True
What happened in 1907?
Early recording companies divided up the world market
T/F The invention of cassette tapes in the 1970s helped to democratize music production.
True
1986 was an important year in the development of ‘world music’ because
‘Graceland’ and the UK meeting that led to the creation of the genre
T/F Film scores proved to be important in the popularization of world music.
True
Barbara Kirshenblatt-Gimblett’s definition of heritage (“a mode of cultural production in the present that has recourse to the past”) accounts for:
The rise of sampling as a compositional technique
Three types of authenticity described by Timothy Taylor
Positionality (‘not selling out’), Emotionality (from the heart, pure and essentially of the human spirit), Primality (the first and original peoples),
T/F According to Krister Malm, cultural exchange is the result of personal travel, and person-to-person exchange of musical instruments, knowledge, etc.
True
T/F Cultural dominance, in Krister Malm’s formulation, occurs when a more powerful society imposes its traditions on a less powerful one
True
T/F Cultural imperialism is similar to cultural dominance, but it is expressed through the dominance of markets and resources of the less powerful group.
True
T/F Transculturation occurs when various cultures come together, largely enabled by technology, to create hybrid forms of culture.
True
Mediatization, according to Krister Malm, refers to:
The ways in which world music changes (from its local form to one that is better commoditized for global markets) in the music studio
The ‘Chant’ phenomenon was discussed in this class because:
The way it was marketed is very similar to how world music is marketed, suggesting that our perception of ‘otherness’ and ‘authenticity’ is more mediated than we like to think.
The main film genre Claudia Gorbman treats in her chapter, “Scoring the Indian” is:
the liberal western
Antecedents to musical representations of Native Americans in the liberal western do NOT include:
twelve-tone compositional technique
Which issue does Gorbman view as central to any cross cultural understanding?
Translation, or mediation
Musical representations of Native Americans in the classic western (i.e., Stagecoach) did include:
A modal melody played in parallel 4ths,
NOT military fanfare in the trumpets,
A tom-tom rhythm accented on every 4th pulse,
a two-note motif,
NOT military fanfare in the trumpets,
A tom-tom rhythm accented on every 4th pulse,
a two-note motif,
The true subject of the liberal western is:
the white hero as reflected in the Indian’s otherness
T/F The “tom-tom” beat of the classic western is used in Dances With Wolves to convey the menace presented to the Sioux by the Pawnee.
False
T/F The vocabulary Native American pow-wow song and dance makers use to talk about what they do is taken largely from the Cherokee language.
False
Browner outlines two main regional styles:
Northern (Great Plains, Great Lakes, much of Canada) and Southern (Oklahoma).
T/F Browner’s form for translating Native American music when presenting in Western scholarly circles is as follows: I. Native History/Native Process II. Native Terminology and Analysis III. Western Terminology and Transcription IV. Western Analysis and Historical/Literary Review.
False (Browner’s form is reversible, depending on who the audience is. She starts with material that will be familiar to the audience, then gradually translates it to the other perspective. So before a Western academic audience, she would begin with Western Analysis and Historical/Literary Review and work towards Native History/Native Process.)
Sygyt
high piercing overtones; barely audible fundamentals
Kargyraa
rumbling, growling sound; “undertones”
Borbangnadyr
rolling, pulsing sound; like water running over stones
Khoomei
more even balance between overtone and fundamental; also generic name for throat singing
igil
horeshead fiddle
shoor
tuvan flute
type of Tuvan personal song not linked to a ritual context or spiritual content:
Kojamyk
Tuvan music draws its power from:
Connection to the land
Duduk
National instrument of Armenia
Santur-
Persian hammered dulcimer
Balaban
Duduk
Daf
Azeri membranophone
Xi’an
Northern silk road terminus
According to the Silk Road Project’s promotional materials, the music cultures along the road – their similarities, differences, and histories – tell a story of which of Malm’s four categories?
Cultural exchange
According to Slobin, what is one of the great musical inventions said to come from Central Asia?
Bowed lute (fiddle)
How many countries did the Smithsonian Folklife Festival’s “Silk Road” highlight in 2002?
Twenty
wangga is associated with _____ states of being
liminal/transitional
The time-state during which the Ancestors walked the earth, singing the world into being, is known as
dreamtime
A legal concept deployed by British colonizers seeking to legitimize their conquest, meaning Empty land
“Terra nullius”
“alienated” definition in the context of Australian Aboriginal land claims
The land was legally transferred to another person, corporation, or entity
T/F Traditional Aboriginal Australian songs and their corresponding ceremonies are owned by specific people. Others need to ask their permission to perform those songs.
true
Yothu-yindi in the Yolngu language means
mother-child
The meeting of two currents, symbolizing the coming-together of two separate identities
Ganma
T/F The Bosavi are a small group of hunter-gatherers who live in the Kaluli rainforest
False (The Kaluli live in the Bosavi rainforest.)
The liner notes for the Voices of the Rainforest CD take the form of a letter written from Steven Feld to ______ ______ (first and last name only).
Mickey Hart
The Kaluli concept of dulugu ganalan means
Lift-up-over-sounding
Steven Feld’s structural analysis of the myth of the muni bird divides seven of the myth’s ethnographic themes into three sequences:
Mediation, Provocation, Metaphorization
T/F Kaluli appropriation of sounds from their environment naturally forms a sort of “sound clock”.
False
Song form of kaluli
gisalo
the word Levin uses to explain Tuvan performance i.e. take on the spirit of the natural world by imitating its “voice” -place oneself in the “bile” or “soul” of another being.
Emplacement
