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Ethnomusicology
Ethnomusicology Final
| Question | Answer |
|---|---|
| Music | Humanly organized sound (also speech falls under that) |
| Ethnomusicology | The study of people from the music that they. create or consume. The study of music as it occurs through culture of the people who made it |
| Culture | Everything that you do that is not biologically determined Example) Biological = We have to eat, Cultural = When we eat, how we eat, how much we eat, and what we eat |
| Context | All powerful, can completely change any action/word using circumstances and environment, anything that happens can be changed by context |
| Ceremony | generally an event that is highly stylized in nature (Special clothes, special place and time, special music, special actions, and special food) Ex- Wedding |
| Musicology | Study of music of the Western world - focuses on measurable aspects like time signatures, tones, scales |
| Ritual | transformation → something is transformed from one thing to another (something is very different when it ends than it was when you began ) Ex) blowing out the candles on your birthday |
| Rites of passage | To make a transition from one stage to the next Stages: puberty, adulthood, and (depending on the culture), death |
| Communication | Transfer of energy and emotion |
| Primitive | The first of sometihing |
| Cultural Identifier | We create a persona and use music to identify ourselves culturally |
| Adage | A proverb or short statement expressing a general truth |
| Ineffable | Too great or extreme to be expressed or described in words. Music is a great ineffable in life Examples: love, eating, death, beauty, James brown example |
| Ethnocentrism | Evaluating other cultures through the lens of standards from your own culture(What we do is the good thing to do- our way is better, superior) |
| Cultural relativism | When you deem a culture (even though it is different, maybe even technologically disadvantaged) no less valuable and no less valued than your own |
| Circadian Rhythms | The rhythms that control all of your life forces (heartbeat, how many times you blink, respiratory, pooping/peeing) - If we’re feeling sad or down, and we play an upbeat song... |
| Subliminal messaging | Audio, or visual stimuli that are just beneath the level of conscious perception -when you go to a grocery store and suggestions are going to your unconscious mind |
| Ethnography | the written word of cultures and people |
| Proxemics | the (consideration or) study of spatial relationships between people Ex) A new band or music group might be physically really close to each other while performing while an experienced group might be further away (therefore about to break up) |
| Kinesics | the study of changing spatial relationships or movement |
| Participant/observation | Paricipate in something as an insider and outsider - being able to step back and observe the event/thing as a whole and as a participant your very presence changes things - the primary method for doing ethnomusicological field research |
| Acoustics | Relating to sound or the sense of hearing. |
| Social responsibility | The circumstance that music artists who are allowed to make an obscene amount of money performing is a condition that some of that money must be given back to the community → you are responsible to the people who have made your career |
| Ethnography of musical performance | Written documentation of the cultural aspects of a musical performance - AT LEAST 9 elements |
| Musical Occasion | Anytime music is presented in any format (Not formal, no effort to present culture) Ex- whistling while walking |
| Cultural Performance | Performance with a cultural point of view, aspects of a performance: lights, staging, audience |
| Piacular ritual | When there is a need for atonement humans feel the need to have a ceremony - ex: salt over shoulder, bless you |
| Annual ritual | Any ritual bound by time (any time, bi-weekly, bi-monthly, daily) → showering, Groundhog Day, presidential election |
| Cultural memory: | The inexplicable knowing of certain cultural data that you do not experience yourself (somehow you just know, but have never experienced) - Walking down the street at night as a woman |
| Social construct | A fictional belief that benefits society to keep in place, and stays in place until someone starts questioning (santa, race..) |
| Cognition | The various ways of intaking information that result in the process we call learning |
| European aesthetic | for art's sake “I don’t how this is functional and what use it has to me, but it’s pretty” |
| African aesthetic | function over form Example) Say you paint and shape a pot so that it looks beautiful but it burns all the food– African aesthetic would say that because it has no function it forfeits the right to be in my existence |
| Classic | An example of the best of that genre |
| Body sense: | Music from each culture and its proclivity to movement - Movement through space and vocal expression is how music is born in a culture |
| Eroticism | Sensuality - how music encourages the process which gives birth to new life (fertility rites and encourage sexuality) - marvin gaye, careless whisper |
| Cultural context | an extension of context (morality of polygamy changes based on the culture) |
| Vamp | The usual length of a vamp is 4 measures that is repeated over and over again, the interesting part is that there can be an improvisation sols over it |
| Blue notes: | The notes in-between the cracks in the piano – singing runs (afro-melismas) (Blues scale: a way to recreate African tonality) most African people employ microtones when they sing |
| Syncopation | off-beat (weak beats) |
Created by:
haleyr28
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