Shorter Essay

Question 1
Jiangnan Sizhu and Al Shangal
JS
silk and bamboo instruments, from original eight categories of sound producing materials
erhu (2 string fiddle), sanxian (3 string long neck lute), dizi (bamboo flute), zheng (bridged zither with 25
strings)
commonly amateur music, friend groups, casual, in tea shops, professionals not always valued
slower tempo styles between sections, but may add more ornamentation, blurs distinctions of tempo
heterophonic performance style- multiple instruments share same melodic line
variation during performance- surface details not fixed, spontaneous ornamentation and interplay with other
musicians
notation used to learn music, but perform from memory, more flexibility but smaller repertory
suite form, gradual progression from slow expansion to fast compressions of same tune
performance is wider social event, not about paying audience
AS
translated as obsession with the beloved, common in Arab poetry and literature
uses a takht ensemble, instrumetalists, ud (pear shaped short neck fretless lute), buzuq (long neck lute, 24
movable frets), violin, nay (reed flute blown at angle), riqq (Arab tambourine)
all play same melody, not quite in unison, leave out notes or double them, much ornamentation
heterophony like JS
ostinato, repeating pattern, under improve soloist on taqasim
use maqam mode/scale, use to improvise
qafla as concluding cadential phrase to end of improve
interaction between musicians and audience, express reactions spontaneously
Question 2
Kriti and Sanjun as classical music

often for higher social classes, more refined, patronage from elite classes, also universities, performed in
refined contexts that show supporters wealth and leisure, context that its performed in, art music in
Europe
ways of dividing musical categories that are more social than sonic, distinctions between folk and art

Kriti
song form in South Indian classical music, songs used for religious purposes to worship gods, lyrics about
Hindu mythology
concerts have specific etiquette, last for many hours, sponsored by sabha cultural clubs, can be very
presitigious, musicians on raised platform/stage above audience, more informal than western classical
music
strict training technique between teachers and students, gurukula, use training in performance, must follow
rules
Sanjun
arose from 1860, in religious John the Baptist festival, uses traditional Quichua Ecuadorian harp, first
brought by European missionaries and conquistadors, still very old instrument, descended from Spanish
harps
strict rules, isorhythm, first and second rhythms nearly identical to one another, all must be 8 syllables


Question 3
Ki Nartosabdho
Gamelan musician, composer, puppeteer, all arts incorporated
interested in painting, dance, Western instrumental music, gamelan, poor family
Did Javenee kethoprak (musical drama) and wayang orang (dance drama, shadow puppetry)
wanted to play drums in kethoprak even though he was inexperienced compared to others
composed new pieces within traditions
composer and drummer in gamelan and singing, controversial contradicting things, also used shadow
puppetry
believes that change is good if it adds beauty to art
Segundo Galo Maigua Pillajo
sanjun composer, composes by hearing melody and later setting text, composes very opular sanguanes
uses constraints of the form to compose, very popular in his culture
Longer Essay
Question 2
Yeibichai vs. Nhemamusasa
Yebichai
ancestor deities who ome to dance at Nightway ceremony, dancers impersonate gods, bring supernatural
power to cure a sick person
basic phrases sung on the tonic, swooping motion between octaves of tonic
bold melodic/rhythmic motifs, sung in vocables
organized in teams of men from certain regions, new songs or old favorites, dance of gods and a clown
who makes people laugh, teams compete, brings gods power
nine night ritual, offerings, sweating/vomiting, hundreds of people as spectators, long chanted songs and
ritual poetry
must be memorized, performed by experts, intellectual leaders, difficult vocal style and training
Nhemamusasa
mbira music for ancestral spirits, helps with spiritual possession, very complex musical works, been played
for centuries
interlocking kushuara and kutsinhira parts, both parts polyphonic
vocables (mahonyera), kudeketera (poetry), and huro (yodeling) styles of singing
Nhemamusasa is one of the oldest and most important pieces, cutting branches for shelter
evokes profound feelings, good for spiritual possession
complex rhythms, polyphonic melody
Question 1
Etic vs. Emic

Insider-Outsider Perspective
Insider (emic): allows meanings to emerge from the ethongrapher's encounter instead of imposing from
existing models and research
Outsider (etic): a distant, analytical orientation instead of experience