Music Appreciation – Unit 2 Ventura College

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Ethnicity
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Definition: Groups bound by shared identify and common ancestry * Central to sense of self, home, and community * But Ethnic boundaries are not easy to delineate * Distinctions between ethnicity and race not always a clear * Music is one expression of ethnic identify
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The Jalolu: Musician/Historians of West Africa
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Mandinka People - Ethnic group of 11 million people across West Africa * Common ancestry , language, and tradictions shared throught oral history performed by jalolu. * Jalolu music is charactized by call and response: solo/chorus song style.
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Jali ( pl.:jalolu,FR.:griot)
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Singer, poet, instrumentalist, storyteller
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Jalolu Characteristic
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Instruments * Kora *Balafon * Ngoni *Bolon
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Categories of Kora playing
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Kumbengo Birimintigo
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Ngoni
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five-stringed lute
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Two Styles of singing
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Donkilo Sataro
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"Ketefaba'' and " Kuruntu Kelafa'' ( Medley)
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Foday Musa Suso
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The African Diaspora ' The Blues'
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* Roots of the blues *African influences
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Roots of the blues
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African American work song, field hollers and spirituals
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Standard 12-Bar Blues Form
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- Consists of Three , 4-bar sections for each stanza of lyrics - Lyrics or Melodic Form
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African influences
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- Social Values - Musical Style -Jalolu/Kora Tradition - " Storytelling genre "
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Standard 12-bar Blues Form *LYRIC MELODIC FORM
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* First line * First Line Repeated * Second contrasting or rhyming line * AAB
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'Country Blues' or ' Delta Blues'
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One man and a guitar
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" Crossroads'
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Cream with Eric Clapton
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" Crossroads''
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John Mayer
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" Cross Road Blues"
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Robert Johnson 'Country Blues' or ' Delta Blues' - one man and a guitar
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Ethnicity in American Popular Song - Edward Kennedy "Duke" Ellington (1899-1974)
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- One of America's greatest composers - Wrote more than 3,000 works - Compositions reflected African American heritage - Led prestigious,namesake jazz orchestra for 50 years - Helped revolutionize American music - Successfully composed in all genres of the time - " Caravan" - listening example see pages 43-44
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Bela Bartok (1881-1945)
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- Hungarian pianist, composer, scholar of folk music - Hungarian ethnic ( folk music) in context of Western European art music - " Allegro Barbaro" for solo piano (1911) - Aggressive dissonances - Harmonies,scales,rhythmic patterns of folk music
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Understanding Center
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* Gender roles are learned * Gender roles are constantly evolving * Gender is performed
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Strong Masculine Focus - Bo Diddley
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"I'm a Man" (1955)
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Strong Feminine Focus - Helen Reddy
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" I am woman"
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Identity and ethnicity in 20th - Century Europe - * Maurice Ravel * (1875-1937)
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- Basque, Swiss, French and Spanish ethnic heritage - Influenced by the " Exotic" at 1889 Exposition Universelle, Paris
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Identity and ethnicity in 20th - Century Europe - " Habanera " from Rapsodie espagnol ( 1907 -08)
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- Non-European imagery in Orchestration and timbre choices - Afro-Cuban rhythms
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Gender in Popular Music
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- Popolar music perfomance - Early rock " n " roll dominated by white males - " Girl groups " in 1960s
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Understanding Center - Gender is performed
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* choices of clothing * Body stance *Speech *Gesture
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Understanding Center - Perceptions of gender in Music
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*Reflections of cultural ideals *Ex. String and woodwinds as " gentle feminine" *Ex. Brass and percussion as " Brawny masculine" *Women excluded from: - Instruments/ensembles in some rituals - Compositions activities
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Gender in Popular Music - Popular music performance
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* both rural and visual * Early rock 'n' roll dominited by white male
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" Girls groups" in 1960s
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- Diminutive names: Bobettes, Ronettes, ects - Song lyrics perpetuated restrictive gender roles
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Aretha Franklin
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- Gospel, Soul singer - History of " respect" - Composed and recorded by Otis Redding in 1965 - Defensive male perspective: disillusionment with infidelity - Recorded by Aretha Franklin in 1967 - Strong female perspective: demands respects, no infidelity -
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" Respect" Otis redding (1965)
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- Original Recording - Focus on - infidelity - disillusionment - bad love affair
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" respect" Aretha Franklin (1967)
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- Aretha's cover - Focus on: Financial independence, and Domestic authority
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Androgyny in 1970's Glam Rock
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- Male performers in makup, jewelry, platform shoes. - Gender ambiguity for shock value, redefining " SEXY" - Elvis Presley (1935 -77): Hyper-masculine or effeminate? - David Bowie ( b.1947): androgyny as exotic?
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Opera
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- A drama that is sung, - Libretto often reflects stereotyped gender roles - Music may enhance aspects of character's role - Siegfried by Richard Wagner Act II/Scene 2 - Expanded orchestral forces, harmonies - Leitmotives tell story +Horn call ( Siegfried Leitmotive) * Tonally stable * Represents youth, bravery - Chromatic, low brass ( Father/ dragon Leitmotive) * Tonally unstable * Represents brutally, danger
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Gender Confusion in Opera - Gender ideals change in history Boy soprano voice
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Castro singing famales roles
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Gender Confusion in Opera - Countertenors
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Male voices sing females roles in falsetto
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Gender Confusion in Opera - Pants roles
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- Females perfom male roles - Cross-gender humor
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Marriage of Figaro - Composed by Wolgang Amadeus Mozart ( 1786)
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" Non so piu cosa son," Act 1 - Cherubino: Pants role * Adolescent male character sung by female soprano - Syncopated rhythms, fast tempo represent * Adolescent hormones * Racing heartbeat * Volatile emotions
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Gender focus in Music - Sensitive listening reveals
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- Emotional power of music through projections of gender - Personal/social identify of composers, perfomers in their music - Reinforce social constructs - Ambiguities challenging social norms
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Gender focus in Music
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- Sensitive listening reveals - Can sexual orientation, know or unknown, have an effect on the music? yes, lyrical content
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"What's Going on?"
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Marvin Gaye (1971)
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" What The World Needs Now"
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Luther Vandross
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" You've Got A Friend"
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Carole King
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Music Spiritually - Music used to enhance spiritual experience - Different religious traditions
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* Music used to quiet mind and body * Music used to excite mind and body * Focus may be on words or melody or rhythm
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" Amazinf Grace"
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* Musical testament to Christian doctrine of salvation * Text written by John Newton ( 1725 - 1807) * Melody from pre-exinting tune: " New Britain" Compare and contrast different version
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" Amazing Grace" Example # 1
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Bernice Johnson Reagon
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" Amazing Grace" Example # 2
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Robert Shaw Festival Singers
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" Amazing Grace" Example # 3
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Old Harp SIngers of Easteern Tennessee
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Music in the Early Christian Church: Medieval Period
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* Plainchant * Intend to connect singers with the sacred * Sung in Latin * Composed anonymously, oral tradition * Monophonic textured * Rhythmically free (non-metric) * Mostly step-wise (conjunct) melodic contours
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Music in the Early Christian Church: Medieval Period
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* Plainchant *Intended to connect singers with the sacred *Sung in Latin *Composed anonymously, oral tradition *Monophonic texture *Rhythmically free ( non-metric) *Mostly step-wise (conjunct) melodic contours
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Liturgy
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* Set order of church services * Divine Offices * Mass
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Liturgy DIVINE OFFICES
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Services celebrated at various hours of the day in monasteries and convents.
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Liturgy MASS
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- A reenactment of the Last Supper
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Liturgy - Mass - PROPER
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text vary from day to day
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Liturgy - Mass - ORDINARY
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texts remain the same *Kyrie *Gloria *Credo *Sanctus *Agnus Dei
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Plainchant: Kyrie eleison from Missa 'cum jubilo'
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* Free, flowing rhythms: without meter * Conjunct melodic contour * Words sung in melismatic style *Many pitches for a single syllable *Three sections
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Plainchant: Kyrie eleison from Missa 'cum jubilo' - MANY PITCHES FOR A SINGLE SYLLABLE
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- Melismas allow for assimilation of spiritual message
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Plainchant: Kyrie eleison from Missa 'cum jubilo' - THREE SECTIONS
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1. Kyrie eleison, 2. Christe eleison, 3. Kyrie eleison
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kyrie from the Pope Marcellas Mass by Giovanni Pierluigi da Palentrina
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* Six independent voice parts * Matrical rhythms give sense of forward motion * Three sections
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kyrie from the Pope Marcellas Mass by Giovanni Pierluigi da Palentrina SIX INDEPENDENT VOUCE PARTS
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* Soprano, Alto, Tenor I, Tenor II, Bass I and Bass II * Sung a CAPPELLA
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Music of the Protestant Reformation
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* Martin luther King (1438 - 1546) * Began Protenstant Reformation with " Ninety-five Theses" * Wrote chorales to replace plainchant in Lutheran worship * Chorales * Tunes from Catolic tradiction or secular music * Chorales combined into hymnals
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Music of the Protestant Reformation - BEGNA PROTENSTANT REFORMANTION WITH " NINETY-FIVE THESE'
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A document criticizing Catholic policies and behavior
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Music of the Protestant reformantion - CHORALES
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- Strophic songs with singable tunes - Sung by congregation - Texts in vernacular German language
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St. Mattlew Passion (1739) by Johann Sebastian Beach
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* Osorio * Biblical story of jesus's last days, told by Evangelist * Vocal soloist as characters * Choruses as soldiers, disciples, crowd * Prominent use of chorale: " O Sacred Head, Now Wounded"
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' Oratorio
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unstaged, uncostumed musical play
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St. Mattlew Passion (1739) by Johann Sebastian Beach Vocal soloist as characters
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Evangelist(narrator), jesus, Pilate, judas, others
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St. Mattlew Passion (1739) by Johann Sebastian Beach Prominent use of chorale: " O Sacred Head, Now Wounded"
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Four phrases: AABC form
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Yom Kippur, Jewish Day of Atonement: " Kol Nidre"
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* 24-hour Holy Day focusing on repentance * " Kol Nidre" (" All Wows") prayer begins service *Request for forgiveness of sins and renewal *Service ends with shofar ( ram's horn) *
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Kol Nidre in g minor, opus 39[ excerpt](1938 by Arnold Schoenberg
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* Narrato's text heard simultaneosly with polyphony in woodswinfs and strings * March-like orchestral rhythms in dialogue with narrator * Chorus joins narrator in text: " We repent" * Orchestral musuc becomes more dissnant and insistent * Contemporary Expression
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" Jesus Walks'"
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Kanye West
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