elements of music
timbre, pitch, rhythm, texture, dynamics, form
timbre
tone or aural color
ex: bright or muted, short or long degradation, clear
... [Show More] or fuzzy
pitch
frequency of the tone
rhythm
duration of sounds and silences and organization of such
texture
phonic structure or relationships between sounds
dynamics
volume and articulation of sounds
form
underlying organizational structure of the sounds
organology
type of instruments used (sachs-hornbostel system)
sachs-hornbostel system
aerophones, chordophones, idiophones, membranophones, electrophones
aerophones
flutes, reeds, trumpets
chordophones
lutes, zithers, lyres, harps (plucked, bowed, struck, and fretted)
idiophones
pitched/non-pitched, plucked, struck, shaken
membranophones
struck with hand, stick, or other device
rubbed or singing membranes
electrophones
sound produce by electronic means, sound enhanced by electronic means
the bandas de viento (wind bands) developed in Oaxaca, and in mexico in general
true
what is the 19th century cuban dance that was integrated into the repertoire of mexican music?
danzon
what is the spanish term for mixture used in reference to racial blending?
mestizaje
folk music is understood as music that only circulates through notation
false
"sandunga" was performed by this contemporary singer
lila downs
the four elements of dance as outlined by rudolf van laban are: body, time, space, and movement
false
all societies have music
true
music can exist free from social influence and context
false
a primary difference between the danza de los concheros and the danza azteca is the use of the (blank), a stringed instrument of obvious spanish influence
concha
characteristics of the danzas de conquista
indigenous: use of wind and percussion instruments only
spanish influence: using musical notation
mestizaje: using dance steps in the form of a cross or cardinal directions
the taylor and hickey article was thought-provoking in its various descriptions of people who held stereotyped views of mexico
true
match composer to composition:
1. Jose Avila
2. Christopher Moroney
3. Carlos Chavez
1. "Raiz Viva"
2. "Teponazcuicatl"
3. "Xochipilli"
atecocolli
sea shell horn
cuicatl
song in nahuatl
cuicapiztles
nahua professional musicians
huehuetl
membranophone made of carved wooden tree trunk with animal skin drum head
the guitar and other stringed instruments didn't exist prior to european contact and belong to this category
chordophones
the term, mestizaje, refers to the native-born descendants of spaniards
false
the modern mariachi ensemble typically includes what instruments?
violin, trumpet, guitar
"el son de la negra" is sometimes referred to as the second national anthem of mexico due to its traditional and representative mariachi style. what type or style of mariachi music is it?
son jalisciense
one obvious change in mariachi groups when they moved from rural to urban areas was the adoption of the charro attire
true
another term for traditional music is folk music
true
the authenticity of traditional music is often connected to the following characteristics
1. being close to the original and linked to the past
2. being from a respected source and used in its intended way
with a total population exceeding 120 million, mexico has a significant portion of its population identified as indigenous at (blank) million
12
a post-revolutionary, romantic, nationalist movement that sought to valorize indigenous culture
indigenismo
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
false
the mixes are an indigenous language group with a presence in the highlands in the state of?
oaxaca
moros y (blank) is a genre of religious dance dramas used by spaniards to convert native mexicans to christianity
cristianos
genre that mixes spanish and other native languages for secular and sacred celebrations
sones
native-born descendants of spaniards
criollos
how do the original mariachi groups of the countryside compare with the modern mariachi groups of the city?
the instrumentation, attire, and methods of learning have changed significantly
a ballad song and precursor to the corrido that speaks on subjects of love, power, and intrigue
romance
music written for the catholic church service according to particular "ordinary" and "proper" sections
mass
a song and dance form not intended for church, used to highlight festivities and celebrations
jacara
music created with popular melodies and dance rhythms used in religious services in an effort to include more people
villancico
villancicos with african influences, such as in language, rhythms, and instrumentation
negrito
a wind band musical form used for sacred purposes
himno
a wind band musical form translated as "sacred dance songs" used for spiritual devotion and demonstrating indigenous musical elements w those of europe
sones divinos
ritual dance dramas
matachines
genre of mexican folk music distinguished by its strophic form and lively choreography, its first documented use surfaces in Veracruz in the 18th century
mexican son
the mega-genre of mexican dance song, called son, is defined by 3 dimensions:
music, verse, and choreography
a six-beat pattern with varying accentuation sometimes felt in two, sometimes in 3
sesquialtera
the foot-stomping heard in mexican son that create rhythmic accents are called:
zapateado
in order to play mariachi al talon, a musician would need to:
have a vast repertoire of music from which to draw, be able to improvise, communicate well
a type of chamba occurring with regular frequency
plantas
mariachi musicians who play al talon are usually paid by the hour
false
chambas refers to gigs played by a mariachi ensemble who typically works together
true
in the 1940s, a significant change occurred in son jarocho music- ensembles playing in this style began to include the accordion
false
the singing style found in son jarocho, called progenero and coro, is likely derived from the prevalent african style of call-and-response
true
jalisco was the exclusive birthplace of mariachi
false
urbanization following the mexican revolution led to the integration of regional sones into the modern mariachi repertoire and musical practices
true
several distinct "flavors": altenos, abajenos, costenos, and planecos, appeared in the son jalisciense repertoire
true
social movements in the US, such as chicano movimiento and women's liberation, have had the following impacts on the mariachi tradition:
the adoption of mariachi as a symbol of pride and identity
adaptation of european violin and dance music, that helped rally mayas to rebellion
mayapax
ballads narrating stories that became popular during the mexican revolution
corridos
the presidency of porfirio diaz is also known as
the porfiriato
spanish genre of musical theatre characterized by a mixture of sung and spoked dialogue
zarzuela
spanish dance of cuban origin distinguished by its 2 against 3 rhythmic pattern
habenera
artistic gathering for learned audiences, usually in public, where individual numbers from operas and light classical music might be performed
tertulia
a style of operatic singing
bel canto
ballroom dance similar to the waltz
danza
the development of modern cosmopolitan cities was an important goal of the reform policies of president porfirio diaz
true
"sobre las olas" is a famous zarzuela composed by juventino rosas
false:
for signing a proclamation protesting injustices in the rule of porfirio diaz, the peasant miner, (blank), was executed and later immortalized in a corrido
heraclio bernal
corridistas also sang about the roles that women played in combat a (blank) during the revolution
soldaderas
a four-line stanza used to organize poetry
quatrain
a farewell
despedida
stereotyped symbol of the virtuous mexican woman
china poblana
guitar-like instrument with 6 double courses associated with conjuntos nortenos
bajo sexton
may be considered pillar styles in mexican popular music
norteno and banda
modern popular styles built around the cumbia dance rhythm
quebradita and tribal
popular music genre that is not identified with wedding celebrations in mexico
huayno
musical movement that took place in the 1970s and reflected the acceptance of the cumbia as the ultimate latin dance rhythm
la onda grupera
cuernos de chivo is
high-powered rifles
the likely local drug lord-saint described in the narcocorrido "jefe de jefes"
jesus malverde
represented nationalism in music drawing from the local sounds and music
jose pablo moncayo
elements of dance
body, time, effort, space
describe all discreet characteristics of music and culture
enumerative approach
gives a responsibility and definition of each role being played
structural functionalist view
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