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MUSI 2005 Final Exam Review.docx

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Department
Music
Course
MUSI 2005
Professor
All Professors
Semester
Winter

Description
MUSI2005FinalExamReviewWeek1ParametersofMusicPitchperceptionoffrequencymeasuredincyclespersecondTuningavailablepitchesScalemodeasubsetofparticularpitchesMelodyasuccessionofpitchesPhraseamusicalstatementthatcombinessoundstoformalargermusicalunitContourtheshapeofthemelodiclineOrnamentationembellishingamelodywithscoopsandslidesbetweensuccessivemelodiesHarmony2ormorepitchessoundingsimultaneouslyIntervalthedistancebetweentwonotesChord3ormorepitchessoundingtogetherChordprogression2ormorechordsplayedinsuccessionDynamicsloudnessTembrequalityorsoundproducedRhythmtheflowofsoundsandsilencesaswellastheorganizationofaccentsandnonaccentsTempospeedpulseMetrethenumberofpulsesGroovethemusicalcohesionthatencouragesparticipationFormshapeandstructureShapevariationofmusicalattributesintimeStructuretherelationshipbetweenthepartsofapieceofmusicaswellasthewholeTypicalJazzForm12barbluesformstrophicform32barsongformAABAJazzThingGangStarrShortmusicalsamplescombinedwithrecordscratchingLyricsdiscussAfricanheritagethemotherAfricaGivesahistoricaltimelineofjazzthroughthelyricsdroppingnamesofmusiciansandsongsthatshapedjazzmusicCriticizesPaulWhitemanasassumingmainroleofjazzcreationandevolutionHowPaulWhitemanBecameKingofJazzErasesAfricanAmericanheritagefromjazzShowsPaulbringingcivilizedmusicintheformoftheviolintoAfricaTamesaraginglionwithhisviolinandbringslifetoAfricathroughjazzWeek21890switnessedtheemergenceofthreeinterrelatedAfrologicalmusicalformsintheAmericanSouthjazzragtimeandbluesEndofslaveryin1865HypothesisjazzhasalwaysbeenconcernedwithdifferentdegreesoffreedomwithinshiftingmusicalsocialandculturalconstraintsththTwoessentialaspectsAfricanAmericanexperienceinthe19and20centuries1Slavery2MigrationAfricanDiasporapeopleofAfricandecentdispersedthroughouttheworldthroughslaveryCircuitsoftheSlaveTradeTheGoldenTriangleAfricanMusicalRetentionsinNorthAmericanMusic1Emphasisonrhythmandonsyncopation2Percussiveorraspytimbrestimbralvariation3Emphasisonparticipationclappingstompingdance4Involvementofthebody5Callandresponseasacentralorganizingprinciple6Extensiveuseofshortostinatopatternsorriffs7Improvisation8Heterogeneoussoundidealpreferenceformultiplesoundeventsatonce9VocalqualityininstrumentalperformanceAfricanAmericanFolkMusicRingShoutDancersmovingincounterclockwisedirectionStickmanwouldbeatoutarhythmonthegroundPeoplejoininbystompingandshoutingresponsesPattinJubaHamboneSlappingdifferentpartsofthebodytoobtaindifferentpercussivetonesthmidlate19centurylyricswereaddedusuallyaboutafigurenamedHamboneWorkSongsOldAlabamaperformedbyBBandgrouprecordedin1947byAlanLomaxFunctionsofworksongs1Coordinatesphysicalactivities2Passingtime3Improvesmorale4ProtestresistanceNewOrleansBrassBandsMarchingbandsparticipatedinparadesfuneralsSyncopatedrhythmsonthebassdrumthEurekaBrassBand1890smid20centuryRagtimeLooselybasedonmarchescharacterizedbyhighlysyncopatedrythmsCommoninminstrelsyhighlyracistperformance
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