MUS 337 Final. Graded 100%.

MUS 337 Final Daisy Moreno-Cota Fri Dec 11 12:59:42 PST 2015 Tone or aural color Volume and articulation of sounds Frequency of the tone Phonic structure or relationships between the sounds Duration of sounds and s ...

MUS 337 Final Daisy Moreno-Cota Fri Dec 11 12:59:42 PST 2015 Tone or aural color Volume and articulation of sounds Frequency of the tone Phonic structure or relationships between the sounds Duration of sounds and silences and organization of such Underlying organizational structure of the sounds Flutes, reeds, & trumpets Lutes, zithers, lyres, & harps Non-drum percussion instruments Drums Electrically driven and amplified instruments Use of wind and percussion instruments only Using musical notation Using dance steps in the form of a cross or cardinal directions Sea shell horn Song in Nahuatl Nahua professional musicians Membranophone made of carved wooden tree trunk with animal skin drum head A ballad song and precursor to the corrido that speaks on subjects of love, power, and intrigue A song and dance form not intended for church used to highlight festivities and celebrations Music written for the Catholic church service according to particular "ordinary" and "proper" sections Villancicos with African influences, such as in language, rhythms, and instrumentation Music created with popular melodies and dance rhythms used in religious services in an effort to include more people A wind band musical form used for sacred purposes, translating to "hymn" or "anthem," which praises God in a religious context, although is also used for nationalistic purposes in other contexts Ritual dance dramas accompanying many festivals that demonstrate indigenous spiritual practices with adopted Christian beliefs A wind band musical form translated as "sacred dance songs" used for spiritual devotion and demonstrating indigenous musical elements with those of Europe Veracruz Michoacán Jalisco Guerrero Son istmeño Oaxaca and Chiapas Huéhuetl drum with head Teponatzli slit drum Huilacapitztli ocarina Tlapitzalli flute Ayacachtli gourd rattles Ayotl turtle shell Omichicauaztli deer bone rasp Cora Harvest Huichol Yaqui Deer Dance Kyrie/Mass Jacara Villancico Son Jarocho son calenteno/arpa grande son jalisciense himno national Mayapax zarzuela banda de viento waltz orquesta tipica pre-revolutionary corrido 1. Contemporary norteño-style version of Revolutionary corrido 1. Contemporary version of soldadera Revolutionary corrido Bolero Ranchera Danzon refrito rock rock mexicano Bi- National pop/rock 1. Early northern conjunto quebradita tribal 1. Nationalistic orchestral composition Post-national aleotoric composition Contemporary song cycle rub between 2 and 3 duple and triple playing together traditionalpopularclassical passed down through generation, has history to it everyday listening type of music, combination between both, but no historical roots formal frame work notation system, training oaxaca, mexico and general what is the 19th century cuban dance that was integrated into the repertoire of mexico music what is the spanish term of mixture used in reference to racial blending folk music is understood as music that only circulates through notation sandunga was performed by the four elements of dance as outlined by Rudolf van laban are: body time and movement music can exist free from social influence and context A primary difference between the Danza de los Concheros and the Danza Azteca (or Danza Mexica) is the use of the ______, a stringed instrument of obvious Spanish influence. Fernando, the mariachi player in the Taylor & Hickey (1997) article, devoted his life to the preservation of cultural practices for a place in which he took great pride, visited frequently, and supported politically and economically. The Taylor & Hickey (1997) article was thought-provoking in its various descriptions of people who held stereotyped views of Mexico. The term, mestizaje, refers to the native-born descendants of Spaniards One obvious change in mariachi groups when they moved from rural to urban areas was the adoption of the charro attire. Harvest chant performed by shaman with mitote for harvest ceremonies and feast day "Wiricuta," a fiddle song from the Peyote Cycle regarding the use of the peyote cactus and naming the holy site of San Luis Potosi Tlaxcala, Tlaxcala," a Danza del Venado (Deer Dance) from the Pascola Ceremony, which describes events in the Seyewailo (Flower World) Another term for "traditional" music is "folk" music. With a total population exceeding 120 million, Mexico has a significant portion of its population identified as indigenous at million. Culture can be defined as all the things people use and create in daily life, such as musical instruments, kitchen utensils, clothing, and written documents The Mixes are an indigenous language group with a presence in the highlands of the state of Moros y is a genre of religious dance dramas used by Spaniards to convert native Mexicans to Christianity. cristianos Native-born descendants of Spaniards The event being documented in the mariachi film, "Sing and Don't Cry," was Guadalajara's International Mariachi Band Competition and was significant in that it brought mariachis from many places, not just Mexico, together to perform, share, and appreciate the many facets and flavors of mariachi, as well as the commonalties fundamental to the musical practice. The mariachi band from Tucson, Arizona, highlighted in the film was important in that it showed the strength young people have despite being forced to emigrate from their homes in Mexico What is the origin of the charro mariachi costume? o It recalls the uniform of the Spanish horsemen of the hacienda. (X) o It harkens to the attire of Emiliano Zapata, leading figure in the Mexican Revolution. (X) o It replaced the peasant garb of the mariachi players in order to become more presentable to an audience. (X) How do the original mariachi groups of the countryside compare with the modern mariachi groups of the city? Genre of Mexican folk music distinguished by its strophic form and lively choreography. Its first documented use surfaces in Veracruz in the eighteenth century The mega-genre of Mexican dance song, called son, is defined by three dimensions: A six-beat pattern with varying accentuation sometimes felt in two, sometimes in three. In order to play mariachi al talón, a musician would need to: o Have a vast repertoire of music from which to draw(X) o Be able to improvise as needed and add stock introductions and endings to songs(X) o Communicate well and have a good rapport with the public(X) Plantas are a type of chamba: Mariachi musicians who play al talón are usually paid by the hour Chambas refer to gigs played by a mariachi ensemble who typically works together. In the 1940s, a significant change occured in son jarocho music--ensembles playing in this style began to include the accordion. The singing style found in son jarocho, called progenero and coro, is likely derived from the prevalent African style of call-and-response. Jalisco was the exclusive birthplace of mariachi. Urbanization following the Mexican Revolution led to the integration of regional sones into the modern mariachi repertoire and musical practices. Several distinct "flavors"--alteños, abajeños, costeños, and planecos--appeared in the son jalisciense repertoire. Mariachi groups established outside Mexico, such as Nati Cano's Mariachi Los Camperos in Los Angeles, have had the following impact(s) on the mariachi tradition Mariachi groups established in U.S. schools, such as Belle and Juan Ortiz's program in the San Antonio Independent School District, have had the following impact(s) on the mariachi tradition: o The educationof children about mariachi music. (X) o The education of children about Mexico and Mexican culture. (X) o The establishment of youth mariachi groups(X) Mariachi festivals, such as the Tucson International Mariachi Festival, have had the following impact(s) on the mariachi tradition: Social movements in the U.S., such as Chicano Movimiento and Women's Liberation, have had the following impact(s) on the mariachi tradition: Modern technology, such as YouTube and Facebook, have had the following impact(s) on the mariachi tradition The women in Compañeras faced many obstacles not typically faced by men in mariachi, such as o The cultural expectation that they marry and have children.(X) o Lower pay (X) o A non-traditional style of learning mariachi music (X) Female mariachi musicians from the film discussed what seemed to be "unacceptable" instruments to play by those around them due to their perception of being masculine. Those instruments were the: While the young, female mariachis from Mariachi Reyna de Los Angeles were passionate, goal-oriented, and committed to mariachi music, they became less committed and goal-oriented as time went on due to a lack of ability to earn a living wage playing mariachi, need to take care of their children, and focus on school and development of alternative careers. Adaptation of European violin and dance music, that helped rally Mayas to rebellion "Últimas Variaciones para Piano" represents Mexico's o Desire to emúlate fashionable European-style music (X) o Ability to create music on par with other parts of the world (X) o Stratification of social and economic classes (X) The Cruzoobs utlized idigenous Mayan rituals and music in their fight against the Yucatecos because: They wanted to symbolize who they were and create a sense of identity different from the people who were of European descent In Mulholland's article, "Mariachi, Myths, and Mestizaje" (2007), she asserts that mariachi represents an "imagined" nation of Mexico through the symbolism of the macho mestizo male and its telling of national history and origins. In Mulholland's (2013) article, "A Beautiful Thing," she argues that mariacheras have been successful at making their mark in the mariachi world by imitating their male counterparts' mannerisms, such as bravado, bawdiness, and imbibing in alcohol with patrons. The presidency of Porfirio Díaz is also known as the___ Spanish genre of musical theatre characterized by a mixture of sung and spoken dialogue. The themes embodied by Chin Chun Chan characterize this period of the Mexican Republic Spanish Dance of Cuban origin distinguished by its two against three rhythmic pattern The development of modern cosmopolitan cities was an important goal of the reform policies of President Porfirio Díaz. Chin Chun Chan characterizes the _______ people, who immigrated in large numbers to Mexico at the end of the 19th and beginning of the 20th centuries until labor and exclusion laws were passed. The development of modern cosmopolitan cities was an important goal of the reform policies of President Porfirio Díaz. true "Sobre las olas" is a famous zarzuela composed by The Conservatorio de la Música and Orquesta Típica de la Ciudad de la México was important during the reign of President Díaz in representing a modern national identity for Mexico and demonstrating its cosmopolitanism as a nation. The_____ is an artistic gathering for learned audiences, usually in public, where individual numbers from operas and light classical music might be performed. For signing a proclamation protesting injustices in the rule of Porfirio Díaz, the peasant miner, _______, was executed and later immortalized in a corrido. Corridistas also sang about the roles that women played in combat a______ during the revolution. Ballads narrating stories that became popular during the Mexican Revolution Norteño and _ ___ _ may be considered pillar styles in Mexican popular music Modern popular styles built around the ______ dance rhythm, include quebradita and the techno genre known as tribal. Identify the popular musical genre that is not identified with wedding celebrations in Mexico. This musical movement took place in the 1970s and reflected the acceptance of the cumbia as the ultimate Latin dance rhythm. The song "El triste," sung by José José, exemplifies the polished balada song style popular in the 1970s. The likely local drug lord-saint described in the narcocorrido, "Jefe de Jefes," is Elements of Dance ethnomusicological theory 1. Enumerative approach- describe all discreet characteristics of music & culture. Related to Anthropology research 2. structural functionalist view – gives a responsibility and definition about each role being played 3. cultural core or center- 4. major cultural values to music- have values that explain what’s happening in music. What is Ethnomusicology? What is fieldwork