Tuvan throat singing that produces two tones at the same time
Khoomii
Key Terms
Tuvan throat singing that produces two tones at the same time
Khoomii
A set of bells operated from a keyboard
carillon
A part of the range of a voice or instrument
register
A series of tones above the fundamental tone
harmonics
A small Tuvan fiddle decorated with a horse’s head
igil
What three things does a soundscape include
sounds, settings, and significances of music
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| Term | Definition |
|---|---|
Tuvan throat singing that produces two tones at the same time | Khoomii |
A set of bells operated from a keyboard | carillon |
A part of the range of a voice or instrument | register |
A series of tones above the fundamental tone | harmonics |
A small Tuvan fiddle decorated with a horse’s head | igil |
What three things does a soundscape include | sounds, settings, and significances of music |
What factors influence the content of a soundscape | technological advances, shifts in generational tastes, its contact or exposure to other soundscapes |
ethnomusicology is a field that combines the study of music with the concerns and methods of | anthropology |
different instruments have different tone qualities because of the presence and relative strength of | particular partials |
Ethnomusicologists often participate in the tradition they study | true |
What is one of the most effective ways to learn about a musical practice | participation actively in the tradition you are studying |
A soundmark is | a sound that identifies a given place and time |
Ethnomusicologists often conduct fieldwork to study music traditions that are no longer performed | false |
What aspects of a soundscape form its setting | everything from the venue to the behavior of those present |
How can outside observers of a particular musical culture become sensitive to its meanings | by discussing the music with musicians and other cultural insiders, by carefully considering insiders’ points of view, by repeated exposure to the music |
What music do ethnomusicologists study today | any and all musical phenomena in a variety of places |
Chinese bowed string instrument | erhu |
keyboard used to operate a carillon | baton console |
An Australian aboriginal instrument | didjeridu |
the special tone quality of an instrument or voice | timbre |
A style of Tuvan throat singing with whistle-like hamronics | sygyt |
What is distinctive about the Tuvan vocal style called Khoomii | Two sounds are produced at the same time; a low, steady tone with a higher tone above |
What do Khoomii singers try to do | Depict sounds of nature in order to reinforce their connection to the physical environment of Tuva |
Ethnomusicology | A field of study that joins the concerns and methods of anthropology with the study of music |
soundscape | The distinctive sounds, settings, and significances of music |
sound | vibrations with frequencies in the audible spectrum quality, duration, pitch, intensity |
The context of a musical performance, place, structure of performance space, and behavior of those present | setting |
Research, including observation and participation of living traditions | fieldwork |
notes written down to record observations in the field | field notes |
The process of identifying a musical scene and studying the soundscape of which it is a part | musical ethnography |
The range of meanings constructed by musicians and listeners in response to musical sound and its settings | significance |
What a researcher does when studying a living tradition during fieldwork | participant-observation |
close, analytical listening in order to recognize characteristics of sound, formal structure, and aspects of musical styles | critical listening |
the science that deals with sound | acoustics |
The highness or lowness of a sound | pitch |
The lowest tone in a harmonic series | fundamental tone |
The series of simple vibrations that combine to create a complex pitched sound | harmonics or partials |
The harmonics above the fundamental | overtones |
The distinctiveness of a particular voice or instrument, arising from acoustical properties of the harmonic series. Also called quality | timbre |
A style of khoomii characterized by text sung in a low register | kargyraa |
Literally "stirrup;" a type of khoomii that features a rhythmic pulsing, said to imitate singing while riding a horse | ezengileer |
Australian aerophone made from a hollowed-out, long piece of hardwood | didjeridu |
The absence of sound | silence |
The purposeful organization of the quality, pitch, duration, and intensity of sound | music |
the voices and instruments that produce musical sound and whose vibrations give rise to our perceptions of quality | sound sources |
The color of a sound, arising from acoustical properties of the harmonic series | quality |
A regular fluctuation of a sound, produced by varying the pitch of the sound | vibrato |
vocal style sung without audible vibrato | straight tone |
A singing voice that is rough or gruff in quality | raspy |
sound resonated from within the chest, with a low, powerful throaty vocal quality | chest voice |
A light, bright tone resonated in the head | head voice |
Male head voice | falsetto |
A buzzing vocal quality produced by using the sinuses and mask of the face as sound resonators | nasal |
The perceived loundess or softness of a sound | intensity |
A series of pitches set forth in ascending or descending order. | scale |
A sequence of pitches, also called a tune, heard in the foreground of music | melody |
stepwise melodic movement using small intervals, as opposed to disjunct motion | conjunct, conjunct motion |
Melodic motion by leaps of large intervals, | disjunct, disjunct motion |
Melodic, rhythmic, and timbral elaborations or decorations such as gracings, rekrek, and grace notes | ornaments |
A brief section of music that sounds somewhat complete in itself | phrase |
The short, regular element of times that underlies beat and rhythm | pulse |
An individual pulse | beat |
The temporal relationships within music | rhythm |
Music's rate of speed or pace | tempo |
A term describing the regular pulse of much of Western Classical music and its divisions into regular groupings of two, three, four, or six beats | meter |
The unit of time in western music and notation in which one grouping of meter takes place | measure |
emphasis on a pitch by any of several means | accent |
Assymetrical groupings | irregular meter |
Rhythm that is not organized around a regular pulse | free rhythm |
The study of musical instruments | organology |
A classifical of musical instruments | Sachs-Hornbostel system |
instruments that produce sound by being vibrated | idiophones |
instruments with strings that can be plucked or bowed | chordophones |
Chordophone whose strings are stretched along a neck and body | lute |
Chordophone whose strings run at an angle away from the soundboard | harp |
Chordophone whose strings are stretched over a soundboard and attached to a crossbar that spans the top of a yoke | lyre |
A chordophone without a neck or yoke whose strings are stretched parallel to the soundboard | zither |
Instruments that sound by means of vibrating air | aerophones |
instruments whose sound is produced by a membrane stretched over an opening | membranophones |
Instruments that produce sound using electricity | electrophones |
the perceived relationship of simultaneous musical sounds | texture |
a single melodic line sounded by one voice or instrument, or more than one, sounding the same melody at the same time | monophony |
A two-voiced texture in which the lower part sustains a continuous pitch (drone) while the upper part sounds a melody | biphony |
A musical texture, where the parts perform different pitches but move in the same rhythm | homophony |
A musical texture in which two or more parts move in contrasting directions at the same time | polyphony |
A musical texture in which two or more parts sound almost the same melody at almost the same time; often with the parts ornamented differently | heterophony |
The structure of a musical piece as established by its qualities, intensities, pitches, and duration | form |
A form in which all verses of text are set to the same melody. Strophic form can include a refrain that is sung between verses | strophic form |
A fixed stanza of text and music that recurs between verses of a strophic song | refrain |
Alignment of body motion to music heard | musical entrainment |
The Indian system for organizing meolodies according to their distinctive pitch content, ornaments, and associations | raga |
Indian category of melody associated with lullabies and sleep | raga nilambari |
Emotion associated with a particular Indian raga | rasa |
Music of south India | Karnatak |
Indian notation that names the seven main pitches | sargam |
Individual pitch within a raga, identified by position and and associated ornaments | svara |
Ornament in South Indian music | gamaka |
South Indian devotional song | kriti |
An Indian rhythmic framework consisting of time cycles that contain a fixed number of counts | tala |
Tala with eight beats 4+2+2 | Tala Adi |
South Indian double-headed drum | mrdangam |
An aerophone with one or more drones and a chanter, all attached to an air reservoir or an airbag | bagpipe |
Gaelic name for the great Highland bagpipes | piob mhor |
Irish smallpipes with three drones, a keyed chanter, and a bellows to fill the bag | uilleann pipes |
pipe with finger holes on which a bagpiper plays a melody | chanter |
The pipe through which a bagpiper blows to fill the bag | blowpipe |
pipes that sound a constant tone but are not fingered | drone pipes |
the practice of inserting grace notes into bagpipe melodies | gracings |
The addition of one or more notes in slight anticipation of a pitch | grace notes |
Group of several grace notes in bagpipe music, one of which has the same pitch as the note ornamented | doubling |
A quick ornamental figure of two adjacent pitches in bagpipe music | birl |
A quick ornamental figure of two nonadjacent pitches that serves as a set of grace notes in bagpipe music | grip |
Vocal music that imitates the sound of the bagpipe | canntaireachd |
Traditional Irish mouth music | dydeling |
Ornamented, quick note preceding the main pitch in Irish Bagpipe music | clip |
a genre of solo bagpipe music that consists of a set of elaborate variations on a theme | pibroch, piobaireachd |
A lively dance tune popular in Ireland and among Irish Americans | jig |
A social or musical even dating back to the eighteenth century and associated with Celtic traditions | ceildh |
A genre of Scottish and Irish dance music typically played on a bagpipe | reel |
A flat bodied, plucked string instrument | zither |
sounds seem higher or lower because of their | pitch |
What is the universal definition of music | Impossible to give one |
Who is Ganesh | the God of learning and auspicious beings |
The atumpan are talking drums once used to communicate and tell historical narratives | true |
non praise parts of Jay Ganesh | vibraphone, sitar, and zither accompany classical, popular, and devotional music |
Highlife draws on | church hymns, sea chanteys, european military band music, and piano music |
popular musical style in Ghana drawing on its past | highlife |
The Agbadza dance music has what kind of instruments and texture | idiophones and membranophones in a polyphonic and polyrhythmic texture |
What do praise Ganesh and Mum-bhai have in common | Both contain local sounds as well as sounds of international musical textures |
Is raga nilambari used only for lullabies | No, it can also be used in ritual music used to lull deities to sleep as well as in compositions with no explicit connection to lullabies or sleep, though it continues to carry that significance for the knowledgeable listener. |
What is the term for the social movement that self-consciously popularizes or re-establishes music whose tradition is broken or seen to be in a precarious state? | A. revivalism |
Music most often conveys meaning by: | association with another phenomenon, such as an idea. |
The mrdangam drum can produce rhythms, but not alterations in pitch. | False |
What is the main function of a bagpipe's bag? | It allows the player to keep the sound going continuously. |
What is the general term for South Indian classical music, a tradition in which raga nilambari can often be heard? | Karnatak music |
How did the use of bagpipes after the attacks on New York City and Washington DC on September 11, 2001 reframe the historical use of the bagpipes in the American public consciousness, associating the instrument with that time of national tragedy? | The bagpipe squad of the Fire Department of New York City played at the funeral of every firefighter who died in the line of duty. |
What is a major difference between the typical Irish bagpipes and the Scottish Highland pipes? | The Highland pipes are larger and have a blowpipe with which the player supplies air to the bag, whereas the Irish pipes' bag is filled with air by a bellows |