Describe how music is both like language and food, writing homework help

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Chapter 1 1. Describe how music is both like language and food. Music is similar to language because of its system of communicating with the community through ones emotions. To understand music you have to understand the meaning behind the words and their real value. This is similar to language because if you can’t understand the words then you can’t understand the pain of your community. The only way it is similar to food is how there is a lot of different types of music and that can be seen with all the different types of fast food or restaurants. 2. What is the overtone series? Overtones are the harmonic partials above the fundamental yet overtone series are fundamental pitches that determine the timbre of the sound. They represent the frequencies that are present in a single note, including the fundamental. 3. What is some ways music relates to both the social and physical environment in Bosnian Highlander culture? 4. What role does the horse play in the traditional music of Tuva? Musicians from Tuvan life say that the rhythm of music is filled with the rhythm of horses. Their significance is also reflected in other aspects of musical practice. Traditionally Tuvans and Mongols in general have a history of horse ownership and culture. You can tell because this is heard in their traditional music in specific rhythms of horses items are reproduced. Not only that but in other pieces horse sounds are reproduced and integrated into their music. The igil, a two horse gut, the skin covering the top of the fiddle is horse skin, the bow is string with horse hair, and a wooden head of a horse is placed on top of the instrument. Also horse hooves are also used as percussion instruments. Since they were around horses a lot, they see the animal as an essential piece when it comes to their music making. 5. Describe the term “syncretism” and give one example of a syncretic musical style. Syncretism is the blending of pleasant elements from different cultures, constructing in hybrid forms. Syncretism is usually found in urban areas where different cultures or backgrounds find themselves working together. An example of that would be in heavily immigrated areas where they have to unite in order to deal with injustice. They unify each other and can work together and won’t be bad talked in music that the community makes. Chapter 2 1. How would you define the field of ethnomusicology? Ethnomusicology are scholars who study the social and cultural aspects of music and dance in local and global context. They work together as a culture in order to have a better understanding of why the community is structured in a way. They study the aspects that make up the music and to do so would mean to study the people. Because of this they out themselves in their shoes to see if they can gain more from it. 2. Why is music such an important component of culture? Music can move people. Music is sound, and specific sounds carry with them specific significance for their performers and audiences. Local radio is an effective way that isolated members of a community can remain in contact with their culture. Members of communities around the world use music to create cultural identity and to erase the cultural identity of others. Through this they can successfully create unity and dissolve it the malice that may be affecting their lives. Musical styles are always in flux: they change through time. One example could be the “Straight out of Compton” movie where they individuals come a community that have problems and are expressed in their music. 3. Give examples of communities that are formed around music and dance. Some communities have performers that speak for them. They hold sorrows and sometimes can be expressed within their music. With this is brings the whole community together because it can give them some time to dance about or sing together about. The music gives the community a voice and that can’t be taken away. 4. Describe the roles that music play in religious worship. Music plays an important role in religious worship. In many different cultures the music and dancing help support and describe certain ceremonies, gatherings that the church is trying to express. Music speaks of the history in some areas and allows the people to sing along with them in the history of their religious faith. 5. What are the conflicts regarding music that have existed within Christian worship overtime? Chapter 3 1. What is the difference between functional and affective memory? 2. Describe the difference between music as an object of memory and music as an instrument of memory. 3. How does the Suya Mouse Ceremony affect both individual and collective memory? 4. What are some of the ways that Irish traditional vocal and instrumental music create and maintain social identity for the Irish? 5. What are two approaches to authenticity in the performances of early music? I feel like that there are more than two approaches to achieve authenticity during early music ranging from self-knowledge too emotional honesty. Many people see authenticity as a controversial word because it is a very vague word when it comes to music in the ears of the public. To me authenticity is when the artist created the song and labeled it as his own since it is his authentic creation. He put his knowledge into it as well as his personal feelings into it. Yet the authenticity belongs to the public as well since they know the true author of the music that was created and they can say that it is his own. The author intention is to provide a piece that express his own emotions and expertise which should mean that it is his authentic piece. CHAPTER 4 1. How does informal enculturation differ from formal musical training? Enculturation differs from formal musical training in many different ways. Enculturation is the informal acquisition of music knowledge. Enculturation is all about the journey for the quest of knowledge. It deals with the environment and the surroundings in order to find the knowledge one is searching for. Informal learning is all about the musical transmission. Formal instruction is present but not limited. Enculturation is the foundation where the training structure was built. The result of this is a learning environment that provides opportunity and a fun environment. 2. What are the main features of the guru-sisya parampara? The guru-sisya parampara tradition or lineage denotes a succession of teachers and disciplines. Typically these traditions are carried on in Buddhism and Hinduism. The guru-sisya parampara is the teacher discipline lineage. This is a civilization that respects experiential knowledge. The followers of this culture hold a high respect for teachers. Some of the features that they live by is respect, commitment, devotion and obedience. The student is under supervision of the guru until they master the skill they are taught to accomplish. It is similar to a mentor program. 3. Compare the training of a Western classical pianist with that of an Indian sarod player? Modern Western classical pianists undergo a kind of training, which in some ways parallels the master-disciple tradition of classical Indian music. The pianist like many artists undergoes many years of private instruction. They first learn how to read notes. Then they move to practicing technical techniques and exercises. This training for Western pianist begins when they are very young. In India a guru teaches classical music. The guru teaches fixed portions of a repertory note. The Modern Western teachers provide the repertory notes along with learning interpretation. 4. How is learning jazz like learning a language? One of the misconceptions of learning about classic music is that because there are no notes written down, there is somehow less freedom. Jazz is an art form where musicians have the freedom to improvise. That is how jazz is like a language. Within a language someone can interpret words completely different then someone else. There is a freedom in language to give meaning to words that are being said. Everyone interprets it differently. Music is the same way. Musicians can manipulate music into different art forms, making it their own. 5. What is the role of the media landscape in the training of rock and roll musicians? Unlike jazz, rock was born and brought up. Students who wish to play rock often take lessons with experienced music teachers. These teachers however do not do most of the learning. The learning is done in other contexts. No rock musician is said to be the exclusive product of one single teacher. The media landscape is much different in India. The oral tradition specifically comes from one teacher. Modern America culture is much mire eclectic. The student has a wider knowledge because they have many different teachers. CHAPTER 5 1. What is the relationship between pulse and meter? The relationship between pulse and meter can be define by first evaluating the definitions individually. First lets start with defining pulse. Pulse in music consists of a repetition of beats. A series of short duration points are know as pulses. A meter on the other hand is notated at the beginning of a composition with a time signature. Time signatures are notated with two numbers, one on tope of the other. A meter is a recurring pattern of stresses or accents that provide the pulse or the beat of music. Know how are they similar? Well a meter is the result of the periodic effect of a pulse/beat of music. 2. What is a duple meter? What is a triple meter? The terms duple and triple refer to the number of beats in a measure. The term simple means that each beat can be broken into two notes. A duple meter is a musical meter characterized by primary divisions of two beats to the bar. Usually indicated by 2 and multiples in the upper figure of the time signature. Another name for a duple meter is duple time. A triple meter is also a musical meter by a primary division of 3 beats to the bar. Usually indicated by three or nine in the upper figure of the time signature. Another name for a triple meter can also be known as triple time. 3. Define swing and syncopation. Swing and syncopation are defined as two different terms yet both are found in jazz. First lets begin defining swing in jazz. Swing is an important component of jazz and makes up a big part of it. Swing is a type of jazz music that does not have a hard beat. Syncopation however relates to the passage of music, the rhythm. It involves a variety of rhythms, which are in some way unexpected. They all play a role in making the tune or piece of music off beat. More simply syncopation is a disturbance or interruption of the regular flow of music. 4. What general rhythmic term applies each of the genres; alap, march, rumba, samba, gat, and jig? Alap, March, Rumba, Samba, Gat and Jig are all different types of music. However each one of these terms have a different rhythmic meaning to them. For example Jig is in music for three-four time for dancing. Gat is a metric/rhythmic foundation that has a Tala twist to it. Samba is a 16-pulse asymmetric rhythm. March however is a 2/4 time tempo of an actual march. Lastly, alap is performed in a free rhythm. All of these terms define different types of music. 5. What musical characteristics do rumba, samba, funk, and rap have in common? Rumba, samba, funk, and rap are all different but they are similar in some way. They have different by the kinds of dialects in them. They are all from an area that is very secluded from each other. They attempt to engage their audience and encourage them. They are a form of music that allows the audience to try and have a voice. Throughout each of these genres emotions are put in place to try and describe the emotions that they are dealing with. Each one of these genres tries to uplift and motivate their listeners. Each one of these genres has a very distinct and strong rhythm to them. CHAPTER 6 1. What is a melody? A melody is a tune, voice, or line that a listener perceives as a single entity. Melodies are like stories, but they don’t always tell stories. Part of the appeal of music is its ability to move us in ways that nothing else can. The plot of a melody does not need to describe anything out of itself. It’s meaning is defined in the beauty of its construction. Like speeches melodies raise and fall like a speaking voice. Speech is a given meaning given by words, rhythm, and a changing pitch. This is the same for melodies. 2. What are motifs and phrases? A motif is a short melodic or rhythmic fragment, which repeats with variation. It is also know as a motive. A motif normally consists of fragments or a succession of notes. A motif is the smallest structural unit possessing thematic identity. A phrase however is a concept or practice related to melodic notes. A phrase is mostly used in the composition and performance. A musical work is normally composed of both terms. Typically a melody consists of consecutive phrases. 3. What is maqam? Maqam is typically found in Arabic music. It is a set of notes with traditions that define relationships between them. Maqam are best defined and understood in context of the rich Arabic culture. A maqam is the modal melodic system of Arabic and Turkish classical music. The Arabic maqam is a melody type. The word maqam means in Arabic place or loacation. We can recognize maqam as a place of music. Typically practiced in Turkey where it is spelled makam. In maqam one of the modes in Arabic or Turkish is classical music. 4. What is raga? Raga is one of the melodic modes used in traditional South Asian music genres. Two examples of this are Indian classical and qawwali. Raga is one of the modes used to generate melodies in Indian classical music. Each raga is not limited to being characterized as a set of pitches. It can also be characterized as a pitch hierarchy and particular melodic motifs and paths as well as extra musical characteristics. This is a concept of melodic modes in Indian classical music. Raga is a tradition that can also be improvised in a performance. There are two main western modes associated with raga. 5. Describe the difference between scales, maqamat, and ragas. A scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is ascending scale. A scale ordered by a decreasing pitch is a descending scale. Some scales contain different pitches when ascending than when descending. A scale provides material for par or all of the musical work. Ragas often employ smaller intervals than semitone. Maqamat typically uses quarter not intervals. In both ragas and maqamat, the distance between the note and an inflection can be less than a semitone. Andres Dongo Music 10 Chapter 7- 9 Chapter 7 1. what gives each sound its own distinctive timbre? In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness. For instance, it is the difference between a guitar and a piano playing the same note at the same loudness. Experienced musicians are able to distinguish between different instruments of the same type based on their varied timbres, even if those instruments are playing notes at the same pitch and loudness.Sound coming from musical instruments is very complex and can be thought of as an infinite sum of sine waves of different frequencies. The pitch that you hear and identify is called the fundamental frequency. However, the tone, or sound quality, of an instrument is characterized by the harmonic frequencies it emits which are integer multiples of the fundamental frequency. The fundamental frequency is much louder than the harmonics which is why you hear it as a single pitch. Different instruments emit different levels of harmonic frequencies when sounding and thus produce different tones. For example, brass instruments tend to produce odd-integer harmonics while woodwind instruments tend to produce even integer harmonics. Also some characteristics like the dying volume and frequency in a guitar distinguishes it from that of a any other instrument. 2. what three things are necessary to produce a sound? In simple terms, sound is vibration. The complex internal structure of our ears can respond to the waves produced by vibration, whether in the form of bass drum or an acoustic guitar. When an instrument produces vibrations, it creates oscillating sound waves. Some of these waves are audible to humans, while others are very deep or high-pitched, and fall outside the human range of hearing. 3. what are the five categories of instruments in the Sachs-Hornbostel system? idiophones, membranophones, chordophones, aerophones, electrophones 4. what are the major sections in the contemporary symphony orchestra? Woodwinds, Brass, Percussion, KEyboards, Strings, Others (electric guitar, synths, etc) 5. what factors affect the production of vocal timbre? Describing the tonal quality of the voice sound by ear, musicians are not rare to give it a definition of visual, spatial, tactile character etc., for example, a pouring voice or a straight as a stick one. The sound of voices can be: round or flat, soft or hard, sharp, bitter or dull, matte, metallic or cotton, disintegrated or collected, chesty or heady, supported or with no support, weedy, active or sluggish, lowered in position or just low, white, open, or dark, covered, tremulous, nasal, pipe-like, velvety, hoarse, shrill, strangled, throaty, uterine, etc. The variety of the singing voice sounding is the result of different combinations and changes in time of only three sound parameters: the vibration frequency of the sound source, the oscillation amplitude and overtone sound of the very singing voice. These three characteristics our ear perceives as height, strength, and tone of voice. Chapter 8 1. how do you define the role of texture in music? Inmusic,texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices. For example, a thick texture contains many 'layers' of instruments. 2. define the four main categories of musical texture Monophonic .- Monophonic texture includes a single melodic line with no accompaniment Biphonic .- Two distinct lines, the lower sustaining a drone (constant pitch) while the other line creates a more elaborate melody above it. Polyphonic .- Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Homophonic .- Multiple voices of which one, the melody, stands out prominently and the others form a background of harmonic accompaniment. 3. what is the prevailing texture in the steel band? Homophonic 4. What is the history of Salsa? what are the instruments of a typical salsa band? Salsa emerged from New York City in the mid-1970s, then spread throughout Latin America and the Western Hemisphere. However, the music had already been going strong in the city for several decades prior to the use of the label salsa. New York had been a center of Cuban-style dance music since the 1940s, when landmark innovations by Machito's Afro-Cubans helped usher in the mambo era. Tito Puente worked for a time in the Afro-Cubans before starting up his own successful band. Typical salsa band instruments: Piano, bongos, congas, timbales, horns, bass 5. What kinds of instruments are found in Central Javanese gamelan? Metallophones, Bonang, Gender, Gong, Kendang, Kenong, peking, Saron, Sienthem. Chapter 9 1. What intervals sound consonant to most people? The perfect fifth and an octave, in some cases major third and major sixth 2. What is organum? how did it develop? Organum is a plainchant melody with at least one added voice to enhance the harmony, developed in the middle ages. Depending on the mode and form of the chant, a supporting bass line may be sung on the same text, the melody may be followed in parallel motion, or a combination of both of thse techniques may be employed. 3. How did western harmonic practices develop in the Renaissance and Baroque eras? Baroque violin, and baroque guitar. Baroque music shares with Renaissance music a heavy use of polyphony and counterpoint. However, its use of these techniques differs from Renaissance music. In the Renaissance, harmony is more the result of consonances incidental to the smooth flow of polyphony, while in the early Baroque era the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme. 4. How has western harmony influenced other traditions? Triads generally prevail in group arrangements and the dominant-tonic relationship can be heard almost everywhere. The emergence of new musical forms that share a harmonic basis is a unifying factor. Whether the collective genre is known as “zouk”, “afropop” or “world beat”, the harmonic sound is familiar to the ears of all listeners. 5. How do these non-western harmonic practices compare to the western system? bosnian ganga Ganga is a dissonant form of singing, using two clashing notes to project sound over long distances. For example, if one person is singing a "C" note, a second person sings either a half-step above or below ("B" or "C#"). Ganga is traditionally sung by sheepherders across stretches of valleys, for long-distance communication with each other. zimbabwean mbira Mbira music, like much of the sub-Saharan African music traditions is based on cross-rhythm. Usually playing a composite melody like a 3:2 cross-rhythm (hemiola) Andres Dongo Music 10 Chapter 10 - 12 Chapter 10 1. How is form in music different from form in the visual arts? The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. In Visual arts A form is an artist's way of using elements of art, principles of design, and media. Element of art that is three-dimensional and encloses space. Like a shape, a form has length and width, but it also has depth. Forms are either geometric or freeform 2. on how many levels can you describe a composition’s form? The founding level of musical form can be divided into two parts: The arrangement of the pulse into unaccented and accented. The further organization of such a measure, by repetition and variation, into a true musical phrase having a definite rhythm and duration that may be implied in melody and harmony, defined, for example, by a long final note and a breathing space. This "phrase" may be regarded as the fundamental unit of musical form: it may be broken down into measures of two or three beats, but its distinctive nature will then be lost. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, can be seen. Thus, form may be understood on three levels of organization. For the purpose of this exposition, these levels can be roughly designated as passage, piece, and cycle. 3. what is binary form? List three genres that are structured in binary form Binary form is a musical form in two related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance. In music this is usually performed as A-A-B-B Binary form was popular during the Baroque period, often used to structure movements of keyboard sonatas. It was also used for short, one-movement works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire movements as sonata form and organic development gained prominence. When it is found in later works, it usually takes the form of the theme in a set of variations, or the Minuet, Scherzo, or Trio sections of a Minuet and Trio or Scherzo and Trio movement in a sonata, symphony, etc 4. Describe some of the contexts where call and response is used. In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the call-and-response pattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions. Is a form of communication, like the use of ganga singers in Bosnia that use the call and response. A distinct section in North Indian classical music is known as sawaal-javaab (questionanswer). Primarily an instrumental technique, the sawaal-javaab occurs between two artists. One artist will present a melodically and rhythmically challenging riff which will be either replicated or improved upon by the other artist. 5. What is the basic blues form? The blues form is a cyclic musical form in which a repeating progression of chords mirrors the call and response scheme commonly found in African and African-American music. During the first decades of the 20th century blues music was not clearly defined in terms of a particular chord progression. With the popularity of early performers, such as Bessie Smith, use of the twelve-bar blues spread across the music industry during the 1920s and 30s. Consists of 12 bars that have a form of AAB. Chapter 11 1. What is the difference between composition and improvisation? A piece of music exists in the form of a composition in musical notation or as a single acoustic event (a live performance or recorded track). If composed before being performed, music can be performed from memory, through written musical notation, or through a combination of both. Compositions comprise musical elements, which vary widely from person to person and between cultures. Improvisation is the act of composing musical elements spontaneously during the performance. 2. What are some of the improvised elements in the performance of a composition that is completely notated? In discussing the structure of a musical work, the composition of that work is generally called its musical form. These techniques draw a parallel to art's formal elements. Sometimes, the entire form of a piece is through-composed, meaning that each part is different, with no repetition of sections; other forms include strophic, rondo, versechorus, or other parts. Some pieces are composed around a set scale, where the compositional technique might be considered the usage of a particular scale. Others are composed during performance (improvisation), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar. 3. what are some of the composed elements of jazz performance? Jazz is characterized by an emphasis on improvisation. This means that much of what a jazz musician plays is not precisely notated or specified as part of the composition. But although there are freely improvised performances in which there is no composition at all to guide the performance, most jazz performances are based on compose material to some extent. 4. what is the “folk process” the folk process is the way folk material, especially stories, music, and other art, is transformed and re-adapted in the process of its transmission from person to person and from generation to generation. The folk process defines a community—the "folk community"—in and through which folklore is transmitted. While there is a place for professional and trained performers in a folk community, it is the act of refinement and creative change by community members within the folk tradition that defines the folk process. 5. Describe an arabic “taqasim” Taqasim is a melodic musical improvisation that usually precedes the performance of a traditional Arabic, Greek, Middle Eastern, or Turkish musical composition. Taqsim traditionally follows a certain melodic progression. Starting from the tonic of a particular Arabic maqam, the first few measures of the improvisation remain in the lower ajnas of the maqam, thereby introducing the maqam to the listener. After this introduction, the performer is free to move anywhere in the maqam, and even to modulate to other maqams, as long as he returns to the original one. Taqsim is either a solo instrument performance, or one that is backed by a percussionist or other instrumentalist playing a drone on the tonic of the maqam. Chapter 12 1. What are examples of musical technologies? Music sequencer software, such as Pro Tools, Logic Audio and many others, are perhaps the most widely used form of contemporary music technology. Such programs allow the user to record acoustic sounds or MIDI musical sequences, which may then be organized along a timeline. Musical segments can be copied and duplicated ad infinitum, as well as edited and processed using a multitude of audio effects. Contemporary classical music sometimes uses computergenerated sounds, either pre-recorded or generated/manipulated live, in conjunction or juxtaposition with classical acoustic instruments like the cello or violin. Classical and other notated types of music are frequently written on scorewriter software. 2. What are examples of technologically simple instruments? What are some more complex ones? Improvements in molding and casting during the 19th Century allowed for technological advancement to pianos. While originally constructed with wooden frames, limiting the amount of sound that could be produced, pianos began to be constructed of one-piece iron frames. This provided a more amplified volume from the instrument and allowed musicians to use less force when playing the instrument. Improvements in drum tuning were also established at this time. In the more complex the Theremin, the Electronde, Ondes Martenot as the early complex ones. But these days we can find even more complicated ones, bringing the tone wheel system into emulation, for being placed in smaller spaces and with more options to store or reproduce sounds. 3. what is the cultural significance of amplification in popular music? So there’s a big divide between amplified music and non-amplified music and the two cultures. I think what the future must bring is things which are considered blasphemous like amplifying classical music in an atmosphere where people can come and go, where they can even talk, perhaps, and it wouldn’t be sacrilege and they can certainly leave in the middle of a movement if they feel like it. These are the sort of situations where young people’s music takes place 4. what is a soundscape? how does the idea relate to the concept of ramé in Java? A soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The study of soundscape is the subject of acoustic ecology. The idea of soundscape refers to both the natural acoustic environment,consisting of natural sounds, including animal vocalizations and, for instance, the sounds of weather and other natural elements; and environmental sounds created by humans, through musical composition,sound design, and other ordinary human activities including conversation, work, and sounds of mechanical origin resulting from use of industrial technology. Rame’ translates as busy, noisy,congested, tangled but in a positive sense. This concept is considered appropriate for a festive atmosphere 5. what is the meaning of democratization of music? The start of the democratization of the music industry began initially in the60s.Firstly, the change of the American listeners taste in music expanded from the folksinger, doowop, and saxophone sounds of the 1950s, to the Motown sound,folk rock and the British Invasion. The rise of sub-cultures, particularly among the youth, created a market for rock, soul, pop, reggae and blues music. From a classical point of view, the 60s were also an important era as they saw the development of the experimental, jazz and contemporary classical music, notably minimalism and free improvisation, which was unheard of beforehand. One reason that the sound of the 60s changed would have been heavily influenced by synthesizers.
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CHAPTER 4
1. How does informal enculturation differ from formal musical training?
There are several ways in which enculturation differs from formal musical training.
To begin with, the former is a wholesome experience, i.e. the entire process
undergone in order to acquire knowledge, interaction with the surroundings and
environment. Though formal instruction may be present, it is generally and informal
approach to acquire knowledge. Enculturation can be defined as the beginning of
formal training, it is enjoyable and educative at the same time.
2. What are the main features of the guru-sisya parampara?
In the guru-sisya parampara, the teachers are held in high esteem, the students not
only look up their teacher but also highly respect them. Budhism and Hinduism are
the basis for traditions carried out. Commitment, respect, obedience and devotion
are some of the principles that the followers of this culture live by. Empirical
knowledge is also respected in this culture. Usually the guru supervises the learners
up to the point when the skill set they are being instructed on are achieved.
3. Compare the training of a Western classical pianist with that of an Indian sarod
player?
Training of a western classical pianist is more formal as compared to that of an
Indian sarod player though they are also similar in some ways. The western pianist,
usually in young age, is taught to read notes before they move on to practical
exercises and techniques. On the other hand, an Indian sarod player is instructed by
a guru majorly on the performance notes. The western pianist is instructed not only
on the performance notes but also on interpreting what is taught.
4. How is learning jazz like learning a language?
Learning jazz is like a language in that there is freedom of interpretation and also in
the way one improvises. There are no written notes when it comes to learning
classical music and an artist improvises as he goes. The same way with languages,
interpretation of words is different between people. In the same way that words can
be interpreted differently, so can music by artists who can personalize music by
giving it a different flow.
5. What is the role of the media landscape in the training of rock and roll musicians?
Rock and roll musicians are usually a by-product of several teachers, in that they not
only take instructions from experienced music teachers, but also increase learning
through other contexts such as the media. In India, oral instructions are done by a

single teacher. The American student has a wider knowledge base as compared to
that in India because of the diversity in instructors.
CHAPTER 5
1. What is the relationship between pulse and meter?
By definition, a meter is a notation at the start of a composition, done by a time
signature which is written as two numbers with on top of the other. A pulse on the
other hand can be defined as a sequence of brief points i.e. a repetition of beats.
Therefore, a meter is created as an effect of pulse. It is the repetitive pattern that
results from accents that provide the pulse of the music.
2. What is a duple meter? What is a triple meter?
A duple meter refers to division of two beats to the bar, it means that every beat is
broken down to two notes and is indicated by a two in the upper time signature. It is
also referred to as duple time.
A triple meter is a musical meter that has a division of three beats to the bar, also
known as triple time. It is marked by three to nine in the upper time signature.
3. Define swing and syncopation.
Swing and syncopation are terms used in jazz and have two different definitions.
Swing as defined in jazz is a significant component of jazz and is a type of music that
does not have a hard beat. It is a type of jazz music.
Syncopation on the other hand includes various beats which are unpredictable in
some way or the other. It also refers to the way of music and its beats. Syncopation
can also be defined as a disruption in the steady flow of music.
4. What general rhythmic term applies each of the genres; alap, march, rumba,
samba, gat, and jig?
The genres march, rumba, alap, samba, gat and jig refer to different types of music
and each has a rhythmic meaning to it. Jig is three to four timed for dancing, gat has
a tala twist with a rhythmic foundation. Samba is a beat with a 16-pulse asymmetric.
March has a two to four timed tempo while alap has a free beat performance to it.
5. What musical characteristics do rumba, samba, funk, and rap have in common?
The genres named are different in their dialects and have their origins in areas that
are much secluded each from the other. Their similarities arise in the way they try
to involve their listeners and viewers and inspire them. These type of music gives
voice to the audience. Emotions are high in this types of music and they tend to try
and describe the various emotions being dealt with. They have distinct and strong

beats associated with them. The genres usually attempt to inspire and encourage or
persuade their audience.
CHAPTER 6
1. What is a melody?
A melody refers to a harmony, speech or line in which an audience views as a single
unit. A melody can be compared to a story yet it is not always true that they tell
stories. Music has the capability to move an individual in such ways that other
things cannot and this is a great appeal of music. Melody is demarcated by the
beauty of its composition, in itself it has no need to describe anything. Like a voice,
melodies can go up and down and like in speeches, meaning is given to melody
through beats, word and pitch change.
2. What are motifs and phrases?
A motif, also known as motive, refers to a brief musical or regular piece that recurs
with disparity. It usually contains bits and sequences of notes. It is the smallest
basic unit having a thematic uniqueness. A phrase, on the other hand, is an idea or
practice linked to musical notes. A phrase is usually used in the arrangement and
presentation of a musical piece. A musical piece is usually composed of both terms.
Characteristically a melody comprises of successive phrases.
3. What is maqam?
A maqam has its settings in the Arabic culture and particularly its music, and also in
Turkish classical music. It can be described as a set of notes combined with the
practices that show the interactions between them. In Arabic, the maqam is a type of
melody and it refers to a location. It can therefore be loosely translated as a place of
music. It is a mode particularly in Turkish or Arabic music.
4. What is raga?
Raga is a type of musical mode used in Indian and qawwali music. It is usually used
in generating melodies in south Asian music. It can be defined or indicated by tone
hierarchy and certain motifs and extra melodic features. It is a ritual that can be
improvised during a performance. Though it is an idea of musical modes in Indian
music, there are two western modes in raga.
5. Describe the difference between scales, maqamat, and ragas.
Scales are sets of melodic notes arranged by order of pitch in the ascending or
descending scale. In ragas, intervals smaller than a semitone are used. The maqamat
usually uses quarters instead of intervals. Both maqamat and ragas use distances
less than a semitone between notes and an inflection.


Andres Dongo
Music 10
Chapter 7- 9
Chapter 7
1. What gives each sound its own distinctive timbre?
In basic terms, timbre is the thing that makes a specific melodic sound not the same as
another, notwithstanding when they have a similar pitch and commotion. For example, it
is the contrast between a guitar and a piano playing a similar note at a similar tumult.
Experienced artists can recognize diverse instruments of a similar sort in view of their
changed timbres, regardless of the possibility that those instruments are playing notes
at a similar pitch and loudness. Sound originating from melodic instruments is extremely
mind boggling and can be thought of as a boundless entirety of sine floods of various
frequencies. The pitch that you hear and distinguish is known as the central recurrence.
Be that as it may, the tone, or sound quality, of an instrument is described by the
symphonious frequencies i...


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