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Unit 9 (Chapter 44, p.254-55 (The Story of the Red Lantern (Story-…

- - - - most prestigious
      - blend- music/mime/costume/dance
      - themes- novels & politics
  - - - traditional operas were banned
      - after the Cultural Revolution, Beijing opera enjoyed a revival
      - 8 approved as "model plays"
        
        ex. The Story of the Red Lantern
    - - Leader- Mao Zedong
      - Purge China of class-structured society
      - the West the Enemy
  - - - Japanese occupation of China in the 1920s and 30s
      - Li Tiemei takes up the cause of the communist martyrs after parents death of parents
      - no romance
    - - Erhu, Yang Qin, Pipa
      - Mandarin
      - Heterophony
- - - - apprenticeships
      - master players-pandit or ustad
    - - music system
        
        Raga: series of pitches, projects mood, time of day
        
        pitches for the organized melody
        
        ascent sequences- ahora
        
        descent sequences- avaroha
        
        other characteristics-
        
        vadi- most important note
        
        samavadi- 2nd most important note
        
        Pakad- essence of musical phrase
        
        played on sitar
        
        long-neck plucked string instrument with metal strings & gourd resonator
        
        Tala- complex rhythmic cycle, translation- clap
        
        accompaniment to raga
        
        tabla or Pakhawaj- hand drums
        
        Drone- form of harmony, striking of strings that sustain pitches
        
        Tanpura- long-necked, plucked, string instrument
        
        Shruti box- bellows drone, electronic today
        
        Swarmandal- Indian harp
    - - 1920-2012
      - one best sitar players and teacher
      - appreciation system
        
        taught his daughter Anouskha and the Beatle George Harrison
      - Raga rock
        
        influenced Indian music in the 1960 & 70s pop music
        
        performed at Woodstock in 1969
      - Raga Bhimpalasi
        
        improvised melodic elaborations
        
        ascending and descending raga
        
        Form-
        
        Introduction- Alap
        
        Slow/unmetered
        
        sitar alone
        
        2nd section- Gat
        
        Tabla enters
        
        Rhythmic cycle
        
        3rd section- Jhala
        
        faster tempo
        
        interplay of instruments
        
        Complex Rhythm
        
        2+4+4+4
- - - - US Navy ended isolation
      - Japan adopted elements of Western culture
      - Westerners experienced a "craze" for all things Japanese
    - - pentatonic (5 notes)
    - - 1811
      - Kabuki play
        
        dance- drama
        
        much style- costumes, makeup, etc.
      - story
        
        Kakubei- entertainer- steals things while performing a lion dance
      - two versions presented here:
        
        simple tune played on the shamisen
        
        dance performance with drum and shamisen variations
- - - - ritual ceremonies, court performances
      - shadow puppet theater (wayang)
        
        shadow-puppet plays begin early evening and continue until dawn
    - - overture to shadow-puppet play
      - story from Hindu epic- Ramayana
        
        story of Kind of Rama whose wife is kidnapped by evil king
      - melody based on pentatonic scale
      - drum marks transition between sections
      - first section slow & stately
      - singer elaborates melody
- - - - Uganda
        
        East African borders Kenya & Lake Victoria
        
        influenced by Arab, Indonesian, and British cultures
      - music played at courts
      - consists of both pitched and unpitched drums
      - ensembles has 6 musicians and 15 drums
        
        4 musicians plays on pitched drums (called drum chimes & played with curved beaters)
        
        2 musicians accompany on unpitched drums
      - use pentatonic melodies and polyrhythms
    - - pentatonic
      - gapped melodies with interweaving new patterns
      - polyrhythmic
      - story
        
        subchief- Kangawo- wears a leopard skin headband for good luck
        
        one night the headband disappears and he feels so unprotected that he falls ill and dies
- - - - the culture and history of the U.S. and Mexico are interwined
      - other Americans also crafted a uniquely American sound
      - realized a nationalist approach through reference to vernacular traditions
    - - Mexico colonized by Spain in 1519, achieved independence in 1821
      - late 19th century goal of creating a nationally distinctive style via Amerindian and mestizo cultures
      - Mexican revolution in 1910 conjured up strong feelings of patriotism
      - Carlos Chavez instigated a government-sponsored program to promote national music
      - Mariachi ensembles a strong nationalist voice
        
        costumes of the charros (Mexican cowboys)
        
        melody group (violins and trumpets)
        
        rhythm section (vihuelas, guitar, guitarron, harp)
    - - 1899-1940
      - born in Durango
      - studied composition in Mexico City and in the U.S., became assistant conductor of the Orquestra Sinfonica de Mexico
      - went to Spain during Spanish civil war of 1930s
      - love for Mexican provincial music
      - mestizo realism drew on elements of Mexico's traditional culture
      - highly flavored with folk elements, especially mariachi band traditions
      - Homage to Frederico Garcia Lorca (LG 53)
        
        1937
        
        Frederico Garcia Lorca was executed by a Fascist firing squad
        
        Homage blends Mexican vernacular and European modernist music
        
        Movement III, Son (LG 53)
        
        Shifting meters moving between simple triple (3/4) and compound (6/8)
        
        evocative of mariachi ensembles
        
        folk-like melodies
        
        prominent piano part and wind instrument focus
        
        polyphonic and complex
        
        sectional (A-B-A-C-A-C-B-A-C-coda)
        
        syncopated
- - - - in the 1920s and 30s, African American artists paying tribute to their heritage
      - Location- Harlem, NYC
      - Growing sense of a new black identity
        
        looking to African for inspiration
        
        seeking racial equality and black cultural pride
      - Famous artists-
        
        sculptor Richmond Barthe
        
        poet Langston Hughes
        
        imitated the rhythms and flow of jazz
        
        poet Zora Neale Hurston
        
        musicians Duke Ellington and William Grant Still
    - - 1895-1978
      - grew up in Little Rock, Arkansas
      - studied violin
      - moved to Memphis, then New York
        
        arranger for radio and musical theater
        
        studied composition with Varese
      - search for a "modern American sound"
      - opened wider range of opportunities for African American musicians
      - 1st symphony
        
        Afro-American symphony (1931)
        
        1st symphony by African American composer to be performed by major American orchestra
      - 1934 moved to Los Angeles- film and television scores
      - 1949 opera Trouble Island
        
        1st opera to be premiered by an African American composer
      - Grant Still's suite for violin and piano (LG 49)
        
        1943
        
        established practices to evoke images of black America"s artistic efforts
        
        each movement based on a different artwork by African American artists
        
        I- Barthe's African Dancer
        
        II- Johnson's mother & child
        
        III- Savage's gamin (LG 49)
        
        rhythmically and humorously
        
        quick 2/4 meter, chords played on offbeats
        
        mostly homophonic
        
        violin trills, glissandos, and double stops
        
        all movements use modal harmonies and blue-style melodies
        
        the last movement (LG 49) flashy and syncopated, with a "stride" bass
- - - - non-concert traditions played a vital role in North American musical life of the late 1800s
      - patriotism a part of national identity
      - compelling American sounds from attempts to integrate vernacular and "serious" music traditions
      - music from various part of the country
      - art should "serve the American people" (Copland)
    - - 1874-1954
      - born in Danbury, Connecticut
      - church organist (13)
      - studied composition at Yale
      - decided against music as a profession and became insurance agent, composed in his spare time
      - gradually became known to the general public, famous by age 73
      - experimental composer
        
        used vernacular heritage
        
        polytonality
        
        polyharmony
        
        polyrhythm
      - Country Band March (LG 51)
        
        1903
        
        march for wind band
        
        complex mesh of tunes, mostly well-known musical quotations from Ive's childhood
        
        London Bridge
        
        Arkansas Traveler
        
        Semper Fidelis
        
        Battle Cry of Freedom
        
        Yankee Doodle
        
        Marching through Georgia
        
        British Grenadier
        
        simulates an amateur band's skills
        
        out of tune notes
        
        bad entrances
        
        wrong notes
        
        harshly dissonant, polytonal
        
        sense of humor
        
        sectional (A-B-A-B'-A')
    - - 1900-1990
      - born in Brooklyn
      - studied in Paris with Nadia Boulanger (composition teacher)
      - in the 1930s and 40s changed directions- populist style
      - popular ballets & film scores
        
        Billy the Kid & Appalachian Spring
        
        Of Mice and Men, The Red Pony, The Heiress
      - investigated in 1950s as communist supporter
      - wide appeal and music useful in a variety of contexts
      - rooted primarily in Appalachian and other Angelo-American folk melodies
      - Appalachian Spring (LG 52)
        
        1945
        
        ballet suite in 7 sections
        
        collaboration with choreographer Martha Graham (1894-1991)
        
        portrays a pioneer celebration
        
        Section 1-
        
        opening section of the suite evokes daybreak
        
        slow & tranquil
        
        polychordal-gentle dissonance
        
        Section 7-
        
        set of variations on the songs Simple Gifts
        
        shaker song
        
        lots of changing tone colors and individual instruments featured
        
        majestic closing