concerto grosso - a musical composition for a group of solo instruments accompanied by an orchestra. The term is used mainly of baroque works.opera - a staged drama set to music in its entirety, made up of vocal pieces with instrumental accompaniment and usually with orchestral overtures and interludesoratorio - a large-scale musical work for orchestra and voices, typically a narrative on a religious theme, performed without the use of costumes, scenery, or actioncontinuo - an accompanying part that includes a bass line and harmonies, typically played on a keyboard instrument and with other instruments such as cello or bass viol.ritornello -  is a recurring passage in Baroque music for orchestra or chorus.tutti - all the voices or instruments together.Aria- a long, accompanied song for a solo voice, typically one in an opera or oratorio.Recitative - a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech.Chorus - a large organized group of singers, especially one that performs together with an orchestra or opera company.Homophonic - When a piece of music has a very clearly melody and chords supporting it Polyphonic - a texture consisting of two or more simultaneous lines of independent melodyOctaves - same note but at a higher pitchUnison - Unison occurs when two or more people play or sing the same pitch or in octaves.Monophonic -  music consisting of a single melodic line. melisma - is the singing of a single syllable of text while moving between several different notes in succession.syllabic - each syllable of text is matched to a single note.word painting -  is the musical technique of writing music that reflects the literal meaning of a song. legato - in a smooth, flowing manner, without breaks between notes. staccato - with each sound or note sharply detached or separated from the others. 20 Describe the texture of the music. [2] The melody is doubled in thirds (1). There are strummed chords (1) on the off-beats (1) and a(moving) bass line (1). Homophonic (1) but not again for chordal accompaniment  

23 Describe the texture of the music. [3] The melody is doubled [1] in thirds [1]. There are strummed chords [1] and a (guitar) countermelody [1]. In the second half of the extract, the guitar takes the main melody [1]. 24 From which part of the world does this music originate? [  

21 Describe the changes in texture during the extract. [3] During the introduction the melody is in the bass [1] with higher chords [1]. There is then a panpipe melody [1] accompanied by chords [1], a bass line [1] which sometimes doubles the melody [1] and a rhythm on a low drum [1]. A second set of pan pipes joins in and the melody is doubled [1] in thirds [1].  

24 Comment on the texture of the music when the full choir sing. [2] They sing chords [1]/homophonically [1] in parallel motion [1] (accept same melody at different pitches).

29 Describe the texture of the music. [2] Any two from:Two part texture [1]. Prominent melody [1] with single notes in bass [1] OR single line melody/monophonic [1] with wide leaps [1]. Thin [1]

4 Describe the texture of the music in lines 8 and 9. [3] Line 8 is set to a contrapuntal/polyphonic texture/lines interweave [1] at first, with the voices coming in one by one [1] singing the same motif/in imitation/in canon/fugue [1]. The voices come together at the end of the line [1]. Line 9 is sung homophonically/in chords [1]. Instruments double the voices. [1]

(b) Describe the texture of the music. [2] The texture from the melodic instruments is heterophonic/explanation of heterophonic [1] in octaves [1] and there is also a drum part [1].

key Signatures Major: If sharps there be the last is ‘Ti’. Go up a semitone from the last sharp Major: If flats there are, the last is ‘Fa’. The second last flat tells you the key signature. (1 flat is F major) For minor keys - work out the major key, then go down 3 semitones (e.g. from C to A)

Baroque  

(JS  Bach,  Handel,  Purcell,  Vivaldi)  

Use  of  con)nuo.  Con)nuously  moving  bass  line.  Much  use  of  sequence.  

Long  phrase  lengths.  Simple  (diatonic)  harmony.  Use  of  an  (obbligato)  solo  

instrument  with  solo  voice.  Use  of  harpsichord.  Composi)onal  devices  such  as  repe))on  and  sequence.  

Repeated  mo)f    which  is  extended.  Irregular  phrase  lengths.  Imita)on  between  

soloist  and  keyboard  instrument.  Many  ornaments.  

Some  composi/onal  styles:  Oratorio,  Opera,  Concerto  Grosso,  Ritornello,  Fugue,  Dance  Suites.  

Classical  

(Mozart,  Haydn,  Beethoven)  

Regular  phrase  lengths.  Antecedent  and  consequent  phrases.  Alber)  bass.  Simple,  

mainly  diatonic  harmony.  Use  of  scalic  passages.  Modula)on  to  the  dominant  in  a  bridge  passage.  Limited  range  of  piano.  Homophonic  texture.  Dominant  right  hand  melody  in  piano.  Strings  dominate  the  orchestral  

sound.  Small  woodwind  sec)on.  An  expanded/large  orchestra  including  trombones,  but  no  extensive  percussion.  Regular  phrase  lengths.  Diatonic  harmony.  Use  of  wind  instruments  as  soloists.  

Melodic  material  shared  around  the  orchestra.  

Some  composi/onal  styles/forms:  Symphony,  Solo  Concerto,  Sonata,  Theme  &  Varia)ons,  Minuet  &  Trio,  String  Quartet,  Rondo,  Opera.  

Unprepared  Listening  Help  

Try  and  add  to  these  lists!  

Describe  the….  

Rhythm:  Syncopa<on,  Steady,  Do>ed,  Straight,  Tempo,  Faster/Slower,  Crotchets,  Quavers  etc.  

Structure:  Form  (Rondo,  Binary,  Ternary,  Sonata,  etc.)  Phrase  length,  Repeats,  Coda,  Introduc<on,  Ques<on  &  Answer,  Sequence,  Imita<on,  Contrary  Mo<on  

Accompaniment:  Chordal,  Countermelody,  Homophonic,  Polyphonic,  Unison,  Octaves,  3rds  etc.,  Os<nato,  Imita<on,  Arpeggios,  Alber<  Bass,  Contrary  Mo<on  

Melody:  Sequence,  Repe<<on,  Ascending,  Descending,  Scales,  Arpeggios,  Major/Minor/Pentatonic/Chroma<c/Whole-­‐tone  

Harmony:  Major/Minor/Atonal/Chroma<c,  Dissonance,  

Texture:  See  other  sheet!  

Composi)onal  Devices:  Sequence,  Repe<<on,  Imita<on,  Ques<on  &  Answer,  Augmenta<on,  Diminu<on,  

Music:  All  of  the  above,  plus  dynamics,  instrumenta<on,  mood,  character,  style  

The  Music  of  Indonesia  

Key  words  you  should  remember:  -­‐  Gamelan, heterophony, repetition, ostinato, gongs, drums, metallophones, pentatonic scale, Balinese Gamelan, Javanese Gamelan, interlocking patterns.

Indonesia  is  a  large  country  made  up  of  thousands  of  islands,  not  all  of  which  are  inhabited.  Due  to  its  size,  Indonesia  is  a  country  with  great  cultural  diversity.  There  are  more  than  200  languages  spoken  throughout  the  country.  Although  many  Indonesians  are  familiar  with  

the  sounds  of  both  Indonesian  and  Western  pop  music,  they  also  know  their  own  musical  tradi)ons  well.  

Bali,  a  small  Indonesian  island,  has  aZracted  a  great  deal  of  interest  recently,  from  Western  Painters,  Musicians,  other  such  people  and  not  surprisingly,  tourists.  The  climate  is  wonderful,  the  landscape  beau)ful,  and  the  people  are  generally  peaceful  and  friendly.  Music  in  Bali  is  a  social  ac)vity.  Young  children  will  sit  while  a  rehearsal  is  taking  place,  gradually  learning  pieces  by  watching,  listening  and  copying.  

Gamelan  –"A  Gamelan  (the  word  comes  from  the  Javanese  'gamal',  which  means  hammer)  is  not  a  single  instrument  but  a  collec)on  of  instruments  that  can  be  played  by  a  variable  number  of  musicians  from  4  to  40.  The  mainstay  of  the  group  are  8  to  10  metal  percussion  instruments  (gender)  which  are  like  glockenspiels  in  that  they  have  10-­‐12  metal  bars  which  are  hit  with  a  mallet.  These  instruments  play  a  melody  cycle  that  is  repeated  as  many  )mes  as  is  wanted.  Around  these  instruments  other  larger  metal  and  wooden  percussion  instruments  add  a  bass  below  and  an  elabora)on  of  the  melody  above."  

A  dis)nc)ve  feature  of  the  gamelan  are  the  very  large  gongs  that  punctuate  the  music  and  give  it  structure.  As  well  as  the  percussion  instruments  are  a  range  of  others  -­‐  suling  flute,  a  bowed  rebab,  zither  and  drums  that  add  further  spice  to  the  music.  

Ensembles  of  gongs  are  common  throughout  Indonesia,  but  the  gamelan  tradi)on  is  unique  to  Bali,  Java  and  Lombok.  

Gamelan  instruments  are  highly  decorated,  ofen  painted  in  bright  blues,  reds  and  gold.  In  Bali,  Gamelan  music  is  inseparable  from  the  arts  of  poetry,  dance  and  drama.  The  Gamelan  is  rarely  played  on  its  own;  it  is  usually  part  of  a  dance,  shadow  play  or  similar  theatrical  performance.  However,  some)mes  it  may  be  played  purely  for  entertainment  or  as  background  music  (at  a  wedding  for  example)  but  there  are  no  concerts  of  Gamelan  music  in  the  Western  sense.  

There  can  be  different  types  of  Gamelan  music  depending  on  the  island  from  which  it  originated,  for  example  the  Javanese  Gamelan  and  Balinese  Gamelan.  Both  of  these  

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sound  very  different.  The  instruments  used  in  a  Balinese  gamelan  have  a  much  harder  sound  and  tend  to  play  faster  music,  which  is  notably  different  from  the  gentle  shimmery  sound  of  the  Javanese  instruments.  When  a  new  Gamelan  is  made,  it  is  made  as  a  whole  set,  with  all  the  instruments  matching  each  other  both  in  appearance  and  sound  –  each  set  of  Gamelan  is  tuned  to  its  own  pitch,  not  a  set  pitch  as  Western  Instruments  are.  This  means  that  the  instruments  are  not  only  unable  to  be  interchanged  between  island  tradi)ons,  but  they  are  also  unable  to  be  mixed  between  sets.  Normally  there  is  only  one  set  in  each  village.  

Gamelan  instruments  are  always  treated  with  great  respect,  as  it  is  believed  that  they  have  spiritual  powers.  Indonesian  people  never  step  over  an  instrument,  as  they  believe  this  would  break  the  link  between  the  instrument  and  heaven.  A  name-­‐giving  ceremony  is  held  when  each  new  set  of  Gamelan  is  completed,  and  gifs  such  as  incense  and  flowers  are  

offered  to  it.  It  is  also  tradi)on  that  Gamelan  should  only  be  played  by  men,  although  some  women-­‐only  ensembles  are  appearing  in  modern  )mes.  

The  Gamelan  music  from  Indonesia  can  sound  very  different  depending  on  where  it  is  from.  Remember  this  for  your  listening  exam.  The  instruments  may  vary  slightly,  as  might  the  tempi,  but  the  paZerns  &  texture  will  be  very  similar.  

Here  are  some  of  the  instrument  names.  You  do  not  have  to  memorise  these  for  your  exam.  

Jegogan – a deep instrument that plays a relatively slow part (like the bass). It is very important as it pins the piece together. (Looks like Jublag below but bigger with less notes)

Jublag – this instrument plays the melody and is quite low in pitch. (See picture).

Kantilan – a higher pitched instrument that plays the interlocking patterns e.g. 6.56.65.6.56.56. against .12.1.21.12.1.21 (See picture).

Gongs – they play a slow pattern similar to that of the Jegogan, on different pitched gongs. (See picture).

Kadjar – this is the timekeeper. This is a single gong, which plays on the beat, every beat to keep the tempo steady. (See picture).

Kedang – this is a two headed drum _one on each end) which controls the piece, deciding things such as tempo changes and when to end the piece. (See picture).

Trompong/Reyong – rows of suspended gongs with one or many players. (See picture)

3

Ceng-Ceng – small cymbals, usually on an ornate stand like a turtle!

Suling – a bamboo flute

Ugal – a 10 key metallophone. (This is very similar to the Kantilan but with smaller notes.

Pemade – a smaller 10 key metallophone. Jublag Kantilan

Kedang

Jublag, Kadjar & Kedang

Reyong

Gongs

More pictures of gamelan available on:

www.hitchams.suffolk.sch.uk/musicschoolwork/gamelan/gamelan_instruments.htm www.gamelan.co.uk/bournemouth.htm www.gamelan.co.uk/bournemouth_girls.htm

��� ��� ���Use  Naxos,  YouTube  and  the  CDs  at  school  to  listen  to  some  examples  of  Gamelan  music.  

4

Indian Classical Music

��� ���Key  words  your  should  remember:  sitar, tambura, sarangi, harmonium, bansuri, tabla, drone, scale, raga, improvisation, sargam, note-bending, grace notes, ornaments, plucked, bowed, imitation, tala, accelerando, alap, jhor, jhala.

The  three  main  elements  of  Indian  classical  music  are  MELODY,  DRONE  and  RHYTHM.  Here  are  some  examples  of  Indian  instruments.  

The  Sitar  –  (Right).  This  is  one  of  the  most  common  stringed  instruments  to  be  used  in  Indian  music.  It  has  along  thin  neck  and  up  to  twenty  strings,  although  onlytwo  or  three  of  these  are  used  to  play  MELODIES.  The  remaining  strings  are  called  “sympathe)c”  strings,  as they  are  not  actually  played,  but  produce  a  sof  metallic  sound  when  the  melody  strings  are  played.  When  the  melody  strings  are  plucked,  these  “sympathe)c”  stringsare  caused  to  vibrate  by  the  sound  waves  from  the  melody  strings,  and  so  they  also  make  a  sound  and  produce  the  metallic  )mbre  which  we  associate  with  the  sitar.  

The  Tambura  –  (Right)  This  is  also  a  stringed  instrument,  but  it  is  bowed  and  has  far  fewer  strings  than  the  sitar.  It  plays  the  DRONE.  

The  Sarangi  (below)  is  also  a  bowed  string  instrument  but  this  plays  the  melody  and  can  sound  very  similar  to  a  violin  or  cello.  

The  Tabla  –  

(Below)  Tabla  are  played  by  the  players’  hands  and  fingers  (no  s)cks!)  to  make  many,  many  different  sounds  (BOLS),  all  of  which  must  be  learned  by  the  player  before  a  player  learns  to  improvise.  This  provides  the  RHYTHM  called  the  TALA.  

The  melodies  of  Indian  Classical  Music  are  based  on  different  Ragas.  There  are  many  hundreds  of  different  Ragas,  used  for  different  occasions,  different  )mes  of  the  day  or  year,  or  for  

different  people.  The  Raga  is  not  a  scale  as  we  know  in  Western  Music  –  ascending  then  descending  paZern  –  but  instead  can  have  rise  and  fall  in  pitch  more  than  once  within  one  

Raga,  and  may  use  more  than  seven  different  notes.  A  Raga  is  wriZen  in  3  different  sec)ons  each  with  a  different  name.  

Alap  –The  first  sec)on  of  a  piece.  It  is  a  slow  sec)on  where  the  soloist  (Sitar  player)  improvises  over  a  drone  (from  the  Tambura)  exploring  their  Rag  (scale).  

Jhor  –  This  is  a  more  rhythmic  sec)on  with  a  definite  pulse,  but  s)ll  no  tabla.  

Jhala  –  This  is  the  last  sec)on  and  the  tabla  player  gets  to  improvise  too.  This  sec)on  gets  faster  and  there  should  be  some  imita)on  between  the  melody  and  the  rhythm,  which  helps  make  it  more  exci)ng.  

You  must  remember  the  names  of  these  sec)ons,  and  how  to  iden)fy  them,  for  your  listening  exam.  

The  above  only  relates  to  North  Indian  Classical  Music  (which  is  included  in  the  IGCSE  syllabus.  There  are  many  other  styles  of  music  in  India,  including  Bhangra. This  is  a  fusion  of  tradi)onal  Indian  sounds  and  Western  influences,  and  is  a  very  popular  style  around  the  world.  

LATIN AMERICAN MUSIC

There  are  many,  many  different  styles  of  music  origina)ng  in  La)n  America.  Most  of  them  have  resulted  from  the  mix  of  cultures  between  European  seZlers,  Slaves  from  Africa,  and  the  Na)ve  American  Indians.  Below  are  some  styles  which  may  come  up  in  your  exam.  

Key  words  you  should  remember  -­‐  samba, rhythm, percussion, agogo bells, syncopation, riff/ostinato, repetition, Cross Rhythms, pan-pipes (or pan flute), charango, bandoneon.

SAMBA

Samba  music  originates  from  Brazil  in  South  America,  from  the  mixing  together  of  many  different  musical  cultures.  SAMBA  is  carnival  music!  

Every  year  in  Brazil,  there  are  large  carnivals  where  groups  perform  their  own  sambas  in  huge  street  parades.  Every  group  has  hundreds  of  dancers  and  drummers  to  perform  their  samba,  which  will  accompany  many  dancers  in  bright  fes)ve  costumes.  

Samba  music  can  use  many  different  combina)ons,  depending  on  what  is  available,  and  the  preferences  of  the  performers.  There  is  Samba  which  uses  pitched  instruments  (including  brass  instruments  such  as  trumpets,  trombones  etc.  and  woodwind  instruments  like  saxophones)  along  with  a  huge  percussion  sec)on.  There  is  also  Samba  BATUCADA,  which  uses  lots  of  different  PERCUSSION  instruments  only.  There  is  no  ruling  against  any  instrument  being  part  of  a  Samba  ensemble,  however  the  dynamic  range  of  certain  instruments  (e.g.  the  violin)  restricts  par)cipa)on,  as  they  simply  will  not  be  heard  above  the  other  (louder)  instruments.  

The  group  of  percussionists  in  a  Samba  ensemble  is  called  the  BATERIA,  whether  there  are  other  instruments  playing  or  not.  Samba  is  an  easily  recognisable  style  as  the  music  is  

always  built  in  layers,  from  the  slow  “heartbeat”  of  the  surdo,  to  the  faster  rhythms  of  the  agogos  and  pandiero.  It  is  controlled  by  a  “leader”  who  gives  signals  with  an  apito  (whistle).  Here  is  an  explana)on  of  some  Samba  instruments.  

Tamborim  –  (Lef)  A  small  hand  drum  like  a  tambourine  but  without  the  bells.  It  is  played  with  a  s)ck  and  different  )mbres  are  achieved  by  pressing  on  the  drum  skin.  

Agogo bells – (Right)  Reco reco – (Lef)  A  A  double  cow  bell.  guiro  (or  scraper!)  

Surdo – (Right)  This  is  like  the  floor  tom  of  a  drum  kit  and  can  be  carried  using  a  neck  support.  

Caixa – (Right)  A  snare  drum.  

` Chocalho – (Lef)  A  cylindrical  shaker  used  horizontally. Pandiero – (Lef)  A  Tambourine!

Claves – (Right) 2 sticks you hit together!

The  SURDO  plays  slower,  more  constant  paZerns  (hence  why  it  is  called  the  “heartbeat”  of  samba),  which  is  true  for  most  of  the  lower,  larger  sounding  instruments.  The  higher  instruments  such  as  the  agogo  bells  have  a  very  dis)nc)ve  sound,  and  play  fast  and  exci)ng  rhythms.  There  is  always  lots  of  syncopation in  Samba,  and  ofen  cross rhythms-­‐  this  is  the  effect  gained  when  two  notes  are  played  at  the  same  )me  (against)  three.  

TANGO

���

The  tango is  a  style  of  dance  and  song,  which  originated  in  Argen)na.  

The  main  feature  of  the  tango  is  a  2/4  rhythm,  which  can  be  notated  as  follows:  

Tango  songs  tend  to  have  a  two-­‐part  structure,  both  parts  of  

equal  length,  with  the  second  part  in  a  

related  key to  the  first.  

Instrumental  ensembles  which  perform  tangos  vary,  but  generally  include  a  violin,  flute  and  guitar  or  accordion  (or  bandonéon –  a  type  of  accordion  pictured  on  the  right).  

Music of the Andes

��� ���The  indigenous  people  of  the  Andean  mountain  range  have  a  

���strong  musical  tradi)on  stretching  back  over  thousands  of  years.  

���The  mountains  stretch  from  Ecuador,  through  Peru,  Bolivia,  Chile  

���and  Argen)na.  

Instruments  such  as  the  charango (a  guitar),  quena  and  tarka  

(flutes),  zampona  (panpipe)  and  various  drums  play  highly  

complex  syncopated  music  with  a  strong  beat,  ofen  in  a  minor  

mode.  Panpipes  are  a  kind  of  woodwind  instrument  made  of  

various  lengths  of  pipe  –  see  image  on  lef.  

Use  Naxos,  YouTube  and  the  CDs  at  school  to  listen  to  some  examples  of  La)n  American  music.  

9

MUSIC OF AFRICA

Africa  is  a  huge  con)nent  and  it  is  impossible  to  generalise  about  all  the  styles  of  music  origina)ng  in  its  many  varied  countries.  Below  are  some  interes)ng  examples.  

Key  words  to  remember:  Mbira, talking drums, un-tuned percussion, xylophone, kora Ghanaian Drum Ensemble

The  Ghanaian  Drum  Ensemble  is  perhaps  one  of  the  most  tradi)onal  ensembles  from  West  Africa.  It  is  made  up  of  a  selec)on  of  different  types  and  sizes  of  drums,  and  the  music  is  fast,  highly  rhythmic  and  strongly  accented.  The  rhythms  are  usually  in  compound  )me  (usually  12/8)  and  the  accented  beats  tend  to  be  3  &  4  rather  then  what  we  would  normally  expect  in  Western  music  (the  accented  beats  are  on  1  &  3).  

Talking Drums

This  type  of  drumming  is  used  as  a  means  of  communica)on  as  well  as  a  way  of  accompanying  songs  or  dances.  Many  African  languages  are  “tonal”  in  that  the  pitch  of  the  spoken  word  is  as  important  as  the  word  itself.  The  same  word  or  syllable  pronounced  at  a  different  pitch  can  have  a  completely  different  meaning.  This  is  the  effect  created  in  music  featuring  talking  drums.  The  player  can  )ghten  the  skin  for  a  higher  pitch  and  loosen  it  for  a  lower  pitch  using  the  strings  aZached  to  the  skin  itself.  

��� ��� ��� ���10

The Instruments

Idiophones: (Translates  as  “self-­‐ sounding”)  these  are  any  instruments  which  can produce  a  sound  without  the  need  for  a  stretchedmembrane  aZachment  ac)ng  as  a  skin,  or  without  areed  or  s)ng.  They  are  the  most  commonly  found  type  of  instrument  found  in  Africa,  although  they  are  not  solely  used  for  musical  purposes;  they  may  be  used  for  aZrac)ng  aZen)on,  for  crea)ng  an  atmosphere,  for  assembling  people  or  for  emphasising  the  movements  of  a  dancer  when  used  in  a  tradi)onal  drama.  Idiophones  are  split  into  two  main  types,  ones  which  are  tuned  and  used  as  melodic  instruments,  and  others  which  are  untuned  and  used  as  rhythm  instruments.  (See  RaZle,  untuned  &  Mbira,  tuned  –  Above)  

Membranophones: These  are  the  different  types  of  drums  used  in  African  music  and  are  used  as  percussion  instruments.  These  are  made  from  one  sort  of  skin  (either  handmade  material  or  animal  skin)  stretched  over  a  base,  which  is  usually  carved  from  a  log  or  made  from  strips  of  wood  held  together  by  iron  hoops.  In  some  cultures  these  items  may  not  be  available  in  which  case  oil  drums  or  )ns  may  be  used  as  a  subs)tute.  The  drums  come  in  all  shapes  and  sizes  and  this  alters  the  )mbre  (tone)  of  the  instrument.  They  may  have  one  or  

two  heads  and  may  or  may  not  be  covered  at  both  ends  by  the  skin.  

Aerophones: These  are  wind  instruments,  which  are  used  for  playing  a  melody.  They  include  instruments  such  as  the  flute,  reed  pipes,  horns  and  trumpets.  However,  they  look  very  different  to  the  instruments  we  are  used  to  seeing  and  are  ofen  made  from  different  materials,  such  as  bamboo,  cane  or  perhaps  carved  from  wood.  Occasionally  animal  horns  or  tusks  are  used  to  make  instruments  such  as  trumpets.  

Chordophones: These  are  string  instruments,  which  may  be  played  by  plucking  or  striking  the  strings.  The  most  common  West  African  string  instrument  is  the  Kora (see  images)  

11

Japanese Music

Japanese  Music  can  be  divided  into  Court  Music  (gagaku) and  non-­‐court  music.  ‘Court’  refers  to  a  royal  palace.  

Key  words  to  remember:  Gagaku, ryuteki, hichiriki, sho, biwa, taiko, kakko, shakuhachi and  koto.  You  should  be  aware  of  and  be  able  to  describe  the  texture  of  the  music  –  e.g.  the  use  of  heterophony.  

Japanese  Tradi)onal  Music  can  be  characterized  by  having:  

1. No chordal harmony

2. Melodic parts which seem to start at different times, only coming together at cadences.

3. A structure which is through composed, while Western Music depends upon more of a structured form in which there are answering phrases, variations and repeats, and a harmonic basis. Japanese Music is a succession of new ideas, and although there is musical form, it does not depend on recognizable phrases being repeated.

Gagaku (court music)

Gagaku  music  comes  in  two  types:  

Komagaku  from  Korea  and  Manchuria,  reaching  Japan  in  the  5th  century.  

Tōgaku  from  China  and  India,  reaching  Japan  in  the  7th  century.   Each  instrument  has  a  melody  Japanese  Instruments  

Kokyū - string instrument played with a bow

Shakuhachi- bamboo flute, woodwind instrument

Ryuteki - bamboo flute, used in gagaku with hichiriki similar to komabue

Komabue-high pitched, bamboo flute, similar to ryuteki 12

Hichiriki - reed flute, used in gagaku with ryuteki, similar sound to a clarinet

Shō- bamboo mouth organ, plays a simple version of the melody or adds chords

Shamisen- plucked instrument with 3 strings, important in theatre

Koto- plucked zither with 13 strings, plays the melody sometimes adding short melodic patterns

Biwa- short necked lute played with a plectrum used in gagaku, usually plays the melody occasionally adding 4 note chords

Taiko- huge drum

Kakko- small drum

13

Two  modes  are  used:  ryō  and  ritsu. You  do  not  need  to  tell  the  difference  between  the  two  but  you  need  to  know  they  exist.  

ryō  

ritsu  

You  should  be  able  to  iden)fy  the  texture  and  structure  of  the  music  –  

Heterophony-­‐  the  same  idea  played  at  different  tempi  ofen  with  varia)ons  

Jo- introduction (has a small amount of rhythmic freedom (rubato))

Ha- breaking away (a pulse begins to develop becoming more steady with less rubato)

Kyū-­‐  hurried (faster with notes added to each musical idea) Be  able  to  iden)fy  the  difference  between  

Gagaku (court  music)  

Folk  music  

���

���14

Chinese Music

Key words to remember: pipa, erh-hu, dizi, hsiao, ti-tzu, tou-kuan, sheng, heterophonic textures, pentatonic scale.

In general, Chinese musical ensembles are small, with pieces for soloists also very popular

��� ���. The five notes of the pentatonic scale are hugely significant in

���Chinese thinking, representing as they do, Earth, Metal, Wood, Fire and Water.

���The seven-note heptatonic scale is also common in a lot of Chinese music.

Melodies tend to be highly decorated, often with many performers embellishing

one melodic line (creating a heterophonic texture). Other music can have

a homophonic texture, sometimes created by vocal melodies being doubled at

an interval of a fourth or fifth by accompanying instruments. A characteristic of

Chinese singing is a very high, thin sound. Here are some common instruments:

���Pi’pa: a four-stringed Chinese

���lute (plucked string instrument).

Erh-hu: a bowed string instrument, with only two strings. Can sound like a violin, and is similar to a Thai ‘Sor’.

Dizi, Hsiao and Ti-tzu are all kinds of Chinese flutes, generally made from bamboo.

���Tou-kuan (usually just ‘Guan’) is a

���double reed instrument. It sounds rather

���like a saxophone. ���

Sheng: A blown wind instrument, like a cross between a

���harmonica, an organ and an accordion. Similar to a Thai

!

‘Khaen’ where holes on the pipes are covered to create

���different notes and drones.

Yangqin: a string instrument played with hammers. Similar instruments can be fouind throughout the world (Dulcimer, Santur, Khim).

16

Arabic Music

���‘Arabic’ music covers many diverse cultures ranging from Morocco, right across North Africa to the Middle Eastern countries of Iraq and Iran. Although there are many differences between these many cultures, here we will look at some common features of their music. Islam has played a large role in shaping the sounds, songs and functions of Arab music.

Key words to remember: Ajnas, Maqam, Microtones, Ornaments, Iqa’at, Ud, Qanun, Rabab, Ney.

Common characteristics in Arab music

Vocal music remains the most revered and most common of Arab music, due to the importance placed on the connection between music and the Arabic language. Singers/poets have a crucial role to play, and have names such as qawwal or sha’ir (depending on the region). Chanting, particularly of the Qur’an, is also very significant (for example, the adhan, or call to prayer, chanted by muezzin from the minarets throughout the Muslim world).

Much Arab music is based on melodic modes, the organisation of which is called maqam (plural maqamat). Each of these is based on a scale with certain notes more important than others, some with intervals smaller than a semitone (quarter-tones or microtones are common in Arab music). These modes have names like Bayati, Hijaz and Sikah but collectively they are called ‘ajnas’.

Arab melody is kept clear of complex textures and focuses on ornaments and other subtleties.

Rhythm is also based on rhythmic cycles, known as iqa’at. Each of these has a different pattern of beats and accents, and percussion instruments such as drums and tambourines beat these out during a musical performance. Some are very simple, others incredibly complex and in irregular metres.

Arab music can be composed or improvised (or both), and musical forms tend to be complex with many sections, some in regular metre, some more ‘free’.

(Adapted from Naxos) ���

The best-known Arab instruments include:

Ud (sometimes spelled ‘Oud’) is a type of lute which is fretless and has five notes (each note has two strings). Ud sounds like lute, and sounds like a lute.

common in Turkey but appears in a lot of Arab music.

Qanun (sometimes spelled ‘Kanun’) – a type of zither with twenty-six notes (each note has three strings) and is plucked with horn-shaped plectra. This instrument is

Ney – an oldest

ancient open-ended flute, one of the instruments in the world.

Rabab (or ‘Rababah’) is a bowed string instrument very much like a violin, and can have one or two strings depending on the region

Loud wind instruments such as the mizmar, which has a double reed a little bit like the oboe, and the mijwiz, which is more like a clarinet. Many percussion instruments can also be heard in much Arabic music, including as the tablah (a hand-drum, also called darbukkah), tabl baladi (a double-headed drum) and the riqq (a tambourine, also called a daff).