Dynamics
volume and articulation of sounds<\/p>\n\n\n\n
Form
underlying organizational structure of the sounds<\/p>\n\n\n\n
Texture
phonic structure or relationships between the sounds<\/p>\n\n\n\n
Pitch
frequency of the tone<\/p>\n\n\n\n
Timbre
tone or aural color
how we can recognize an instrument from their tone<\/p>\n\n\n\n
Rhythm
duration of sounds and silences and organization of such<\/p>\n\n\n\n
Elements of Dance
body, effort, time, space<\/p>\n\n\n\n
Idiophones
vibrations of instruments body<\/p>\n\n\n\n
Chordophones
vibrations of strings<\/p>\n\n\n\n
Membraneophones
vibrations of stretched skins, organic or synthetic<\/p>\n\n\n\n
Areophones
vibrations of air columns<\/p>\n\n\n\n
How did Chicano music during the late 1960s and early 1970s change?
People were frustrated with the government so music became more political<\/p>\n\n\n\n
How did the women in the film “Companeras” learn the mariachi traditions of music
They were self-taught or they studied classical music in school. But some of them did learn from their family<\/p>\n\n\n\n
Why is the participation of other non-Mexican ensembles in the genre of mariachi music significant?
To help spread mariachi across the world and not have it exclusively be in Mexico<\/p>\n\n\n\n
What are some of the issues in Mexican corridos?
Not only drugs but they also discuss immigration and the Mexican work ethic<\/p>\n\n\n\n
What are some of the issue of Mexico mentioned in the film “Hecho en Mexico”?
Gender, borders, and the environment\/pollution<\/p>\n\n\n\n
Essentialization
The process of reducing people and their cultural expression to a limited set of essential characteristics<\/p>\n\n\n\n
Mestizaje
Indigenous-Spaniard offspring<\/p>\n\n\n\n
Participatory Performance
the audience has a role in the performance<\/p>\n\n\n\n
Presentational Performance
the audience simple listens and watches the performance<\/p>\n\n\n\n
Sesquialtera
a 2-beat phrase divided into two groups with six beats<\/p>\n\n\n\n
Zapateado
the foot-stomping heard in Mexican son that creates rhythmic accents<\/p>\n\n\n\n
Structure of Corrido
Each copla is sung to a repeated strophic melody to tell an often epic story.
Verses build a story:
opening verses sets the scene (date, time, place)
narration of the story
closing verse is the concluding message (despedida)
poetry follows ABCB rhyme scheme
predictable alternation of two or three chords
Rhythm of waltz and polka (duple\/triple meter)
upbeat no matter what<\/p>\n\n\n\n
Why do practitioners of Danza Aztec take issue with Danza de los Concheros?
Because of the use of the concha represents European influence on indigenous practices<\/p>\n\n\n\n
Gloria Rios
Queen of rock and roll
One of the earliest stars of Mexican rock music on TV and recordings<\/p>\n\n\n\n
Pancho Villa
A major leader during the revolution who’s real name is Doroteo Arango (1878-1923)<\/p>\n\n\n\n
Porfirio Diaz
the president\/dictator of Mexico from 1848 to 1876<\/p>\n\n\n\n
Porfiriato
the name of the era in which Porfirio Diaz ruled<\/p>\n\n\n\n
Ritchie Valens
Influential Chicano musician who toured with the Big Bopper, Buddy Holly, and Frankie Sardo, but died at 17 years old in small flight accident (“The day the music died”)<\/p>\n\n\n\n
Jorge Negrete
singer-actor who became the idealized representative of the handsome heroic rancher<\/p>\n\n\n\n
Agustin Lara
Radio personality in the 1930s who composed many romantic songs of international fame, and captured the hearts of Mexican listeners, especially housewives, in their homes.<\/p>\n\n\n\n
Bajo sexto
guitar-like instrument with six double courses<\/p>\n\n\n\n
Vihuela
a guitar-like string instrument from the 19th century Mexico with five strings<\/p>\n\n\n\n
Guitarron
a large acoustic bass guitar<\/p>\n\n\n\n
Huehuetl
A percussion instrument from Mexico, used by the Aztecs and other cultures. It is an upright tubular drum made from a wooden body opened at the bottom that stands on three legs cut from its base, with skin stretched over the top. It can be beaten by hand or wood mallet.<\/p>\n\n\n\n
Son
The mega-genre of Mexican dance song, defined by three dimensions: music (sounds), verse (text), and choreography (movements and sometimes sound<\/p>\n\n\n\n
Independence Day in Mexico
September 16th<\/p>\n\n\n\n
Nueva Cancion
The countercultural song movement that spread throughout the Americas in the 1960s
Political music and protest songs<\/p>\n\n\n\n
Similarities between romance and corridos
Corridos are ballads narrating stories that became popular during the Mexican Revolution<\/p>\n\n\n\n
Romance is a ballad song and precursor to the corrido that speaks on subjects of love, power, and intrigue<\/p>\n\n\n\n
Jose Elizaga
Mexican composer, music theorist, pianist, organist and teacher<\/p>\n\n\n\n
Silvestre Revueltas
“Post-revolutionary arts brigade”<\/p>\n\n\n\n
Represented post-revolutionary sentiment in music drawing upon urban and popular musics<\/p>\n\n\n\n
Jose Pablo Moncayo
“Extending nationalist sentiment”<\/p>\n\n\n\n
Represented nationalism in music drawing from local sounds and musics<\/p>\n\n\n\n
Is music a universal language?
No; music is created for certain purposes and if those purposes are not known the music can be misused<\/p>\n\n\n\n
Relevance of the films “Flor Silvestre” and “Santa”
Santa promotes Mexican faith and values over foreign ways. Feminist scholars point out a tendency in Mexican culture to view women as either saints\u2026or sinners and temptresses\u2026 In the film, the female protagonist embodies both<\/p>\n\n\n\n
Flor Silvestre depicts rural life and invites compassion for those trapped by poverty and illiteracy. evaluates the Mexican revolution [c. 1910-1920] and attempts to show how corruption, fanaticism and authoritarianism threaten the realization of revolutionary goals<\/p>\n\n\n\n
Ranchers
Rose in popularity through Mexican film and radio
Can be fast polka, slow triple (waltz), or slow duple meter<\/p>\n\n\n\n
Bolero
Emerged from Cuba in the 1880s<\/p>\n\n\n\n
Villancio
Music created with popular melodies and dance rhythms used in religious services in an effort to include more people<\/p>\n\n\n\n
Tribal
Modern popular styles built around the cumbia dance rhythm, include quebradita and the techno genre<\/p>\n\n\n\n
Waila
chicken scratch<\/p>\n\n\n\n
Zarzuela
A Spanish genre of musical theater characterized by a mixture of sung and spoken dialogue in Spanish<\/p>\n\n\n\n
Orquestra tipica
important during the reign of President D\u00edaz in representing a modern national identity for Mexico and demonstrating its cosmopolitanism as a nation.<\/p>\n\n\n\n
Classical post-nationalistic Music
Composers turned away from overtly identifiable sounds and music and nationalistic elements in order to experiment with non-representational techniques after 1950.
Work is based upon the idea that humans go through life experiences governed by rituals<\/p>\n\n\n\n
Classical Nationalistic Music
added individualistic interpretations of urban popular music and contemporary life<\/p>\n\n\n\n
Early Northern Conjunto
Instruments include the accordion, the bajo sexto, and electric bass, and a drum kit<\/p>\n\n\n\n
Son Jarocho
Region: Veracruz (eastern Mexico)
Instruments: harp, jarana, leona (bass), requinto (guitar\/guitar solo)<\/p>\n\n\n\n
Son Huasteco
Region: Hidalgo (north-eastern Mexico)
Instruments: violin, huapanguero, jarana (small guitar)
Sesqui\u00e1ltera- 12 beat pattern<\/p>\n\n\n\n
Son Istmeno
Region: Oaxaca (southern Mexico)
Instruments: marimba, wind band influence<\/p>\n\n\n\n
Son Jalisciense
Region: Jalisco
“El Son de la Negra” (“The Song of the Black Woman”) is sometimes referred to as the second national anthem of Mexico due to its traditional and representative mariachi style.<\/p>\n\n\n\n
Son Abajeno
Region: Michoac\u00e1n<\/p>\n\n\n\n
National Anthem
an important symbol in Mexico’s construction of nationhood; an example of invented tradition<\/p>\n\n\n\n
elements of music
timbre, pitch, rhythm, texture, dynamics, form<\/p>\n\n\n\n
timbre
tone or aural color
ex: bright or muted, short or long degradation, clear or fuzzy<\/p>\n\n\n\n
pitch
frequency of the tone<\/p>\n\n\n\n
rhythm
duration of sounds and silences and organization of such<\/p>\n\n\n\n
texture
phonic structure or relationships between sounds<\/p>\n\n\n\n
dynamics
volume and articulation of sounds<\/p>\n\n\n\n
form
underlying organizational structure of the sounds<\/p>\n\n\n\n
organology
type of instruments used (sachs-hornbostel system)<\/p>\n\n\n\n
sachs-hornbostel system
aerophones, chordophones, idiophones, membranophones, electrophones<\/p>\n\n\n\n
aerophones
flutes, reeds, trumpets<\/p>\n\n\n\n
chordophones
lutes, zithers, lyres, harps (plucked, bowed, struck, and fretted)<\/p>\n\n\n\n
idiophones
pitched\/non-pitched, plucked, struck, shaken<\/p>\n\n\n\n
membranophones
struck with hand, stick, or other device
rubbed or singing membranes<\/p>\n\n\n\n
electrophones
sound produce by electronic means, sound enhanced by electronic means<\/p>\n\n\n\n
the bandas de viento (wind bands) developed in Oaxaca, and in mexico in general
true<\/p>\n\n\n\n
what is the 19th century cuban dance that was integrated into the repertoire of mexican music?
danzon<\/p>\n\n\n\n
what is the spanish term for mixture used in reference to racial blending?
mestizaje<\/p>\n\n\n\n
folk music is understood as music that only circulates through notation
false<\/p>\n\n\n\n
“sandunga” was performed by this contemporary singer
lila downs<\/p>\n\n\n\n
the four elements of dance as outlined by rudolf van laban are: body, time, space, and movement
false<\/p>\n\n\n\n
all societies have music
true<\/p>\n\n\n\n
music can exist free from social influence and context
false<\/p>\n\n\n\n
a primary difference between the danza de los concheros and the danza azteca is the use of the (blank), a stringed instrument of obvious spanish influence
concha<\/p>\n\n\n\n
characteristics of the danzas de conquista
indigenous: use of wind and percussion instruments only
spanish influence: using musical notation
mestizaje: using dance steps in the form of a cross or cardinal directions<\/p>\n\n\n\n
the taylor and hickey article was thought-provoking in its various descriptions of people who held stereotyped views of mexico
true<\/p>\n\n\n\n
match composer to composition:<\/p>\n\n\n\n
atecocolli
sea shell horn<\/p>\n\n\n\n
cuicatl
song in nahuatl<\/p>\n\n\n\n
cuicapiztles
nahua professional musicians<\/p>\n\n\n\n
huehuetl
membranophone made of carved wooden tree trunk with animal skin drum head<\/p>\n\n\n\n
the guitar and other stringed instruments didn’t exist prior to european contact and belong to this category
chordophones<\/p>\n\n\n\n
the term, mestizaje, refers to the native-born descendants of spaniards
false<\/p>\n\n\n\n
the modern mariachi ensemble typically includes what instruments?
violin, trumpet, guitar<\/p>\n\n\n\n
“el son de la negra” is sometimes referred to as the second national anthem of mexico due to its traditional and representative mariachi style. what type or style of mariachi music is it?
son jalisciense<\/p>\n\n\n\n
one obvious change in mariachi groups when they moved from rural to urban areas was the adoption of the charro attire
true<\/p>\n\n\n\n
another term for traditional music is folk music
true<\/p>\n\n\n\n
the authenticity of traditional music is often connected to the following characteristics<\/p>\n\n\n\n
with a total population exceeding 120 million, mexico has a significant portion of its population identified as indigenous at (blank) million
12<\/p>\n\n\n\n
a post-revolutionary, romantic, nationalist movement that sought to valorize indigenous culture
indigenismo<\/p>\n\n\n\n
culture can be defined as all the things people use and create in daily life, such as musical instruments, kitchen utensils, clothing, and written documents
false<\/p>\n\n\n\n
the mixes are an indigenous language group with a presence in the highlands in the state of?
oaxaca<\/p>\n\n\n\n
moros y (blank) is a genre of religious dance dramas used by spaniards to convert native mexicans to christianity
cristianos<\/p>\n\n\n\n
genre that mixes spanish and other native languages for secular and sacred celebrations
sones<\/p>\n\n\n\n
native-born descendants of spaniards
criollos<\/p>\n\n\n\n
how do the original mariachi groups of the countryside compare with the modern mariachi groups of the city?
the instrumentation, attire, and methods of learning have changed significantly<\/p>\n\n\n\n
a ballad song and precursor to the corrido that speaks on subjects of love, power, and intrigue
romance<\/p>\n\n\n\n
music written for the catholic church service according to particular “ordinary” and “proper” sections
mass<\/p>\n\n\n\n
a song and dance form not intended for church, used to highlight festivities and celebrations
jacara<\/p>\n\n\n\n
music created with popular melodies and dance rhythms used in religious services in an effort to include more people
villancico<\/p>\n\n\n\n
villancicos with african influences, such as in language, rhythms, and instrumentation
negrito<\/p>\n\n\n\n
a wind band musical form used for sacred purposes
himno<\/p>\n\n\n\n
a wind band musical form translated as “sacred dance songs” used for spiritual devotion and demonstrating indigenous musical elements w those of europe
sones divinos<\/p>\n\n\n\n
ritual dance dramas
matachines<\/p>\n\n\n\n
genre of mexican folk music distinguished by its strophic form and lively choreography, its first documented use surfaces in Veracruz in the 18th century
mexican son<\/p>\n\n\n\n
the mega-genre of mexican dance song, called son, is defined by 3 dimensions:
music, verse, and choreography<\/p>\n\n\n\n
a six-beat pattern with varying accentuation sometimes felt in two, sometimes in 3
sesquialtera<\/p>\n\n\n\n
the foot-stomping heard in mexican son that create rhythmic accents are called:
zapateado<\/p>\n\n\n\n
in order to play mariachi al talon, a musician would need to:
have a vast repertoire of music from which to draw, be able to improvise, communicate well<\/p>\n\n\n\n
a type of chamba occurring with regular frequency
plantas<\/p>\n\n\n\n
mariachi musicians who play al talon are usually paid by the hour
false<\/p>\n\n\n\n
chambas refers to gigs played by a mariachi ensemble who typically works together
true<\/p>\n\n\n\n
in the 1940s, a significant change occurred in son jarocho music- ensembles playing in this style began to include the accordion
false<\/p>\n\n\n\n
the singing style found in son jarocho, called progenero and coro, is likely derived from the prevalent african style of call-and-response
true<\/p>\n\n\n\n
jalisco was the exclusive birthplace of mariachi
false<\/p>\n\n\n\n
urbanization following the mexican revolution led to the integration of regional sones into the modern mariachi repertoire and musical practices
true<\/p>\n\n\n\n
several distinct “flavors”: altenos, abajenos, costenos, and planecos, appeared in the son jalisciense repertoire
true<\/p>\n\n\n\n
social movements in the US, such as chicano movimiento and women’s liberation, have had the following impacts on the mariachi tradition:
the adoption of mariachi as a symbol of pride and identity<\/p>\n\n\n\n
adaptation of european violin and dance music, that helped rally mayas to rebellion
mayapax<\/p>\n\n\n\n
ballads narrating stories that became popular during the mexican revolution
corridos<\/p>\n\n\n\n
the presidency of porfirio diaz is also known as
the porfiriato<\/p>\n\n\n\n
spanish genre of musical theatre characterized by a mixture of sung and spoked dialogue
zarzuela<\/p>\n\n\n\n
spanish dance of cuban origin distinguished by its 2 against 3 rhythmic pattern
habenera<\/p>\n\n\n\n
artistic gathering for learned audiences, usually in public, where individual numbers from operas and light classical music might be performed
tertulia<\/p>\n\n\n\n
a style of operatic singing
bel canto<\/p>\n\n\n\n
ballroom dance similar to the waltz
danza<\/p>\n\n\n\n
the development of modern cosmopolitan cities was an important goal of the reform policies of president porfirio diaz
true<\/p>\n\n\n\n
“sobre las olas” is a famous zarzuela composed by juventino rosas
false:<\/p>\n\n\n\n
for signing a proclamation protesting injustices in the rule of porfirio diaz, the peasant miner, (blank), was executed and later immortalized in a corrido
heraclio bernal<\/p>\n\n\n\n
corridistas also sang about the roles that women played in combat a (blank) during the revolution
soldaderas<\/p>\n\n\n\n
a four-line stanza used to organize poetry
quatrain<\/p>\n\n\n\n
a farewell
despedida<\/p>\n\n\n\n
stereotyped symbol of the virtuous mexican woman
china poblana<\/p>\n\n\n\n
guitar-like instrument with 6 double courses associated with conjuntos nortenos
bajo sexton<\/p>\n\n\n\n
may be considered pillar styles in mexican popular music
norteno and banda<\/p>\n\n\n\n
modern popular styles built around the cumbia dance rhythm
quebradita and tribal<\/p>\n\n\n\n
popular music genre that is not identified with wedding celebrations in mexico
huayno<\/p>\n\n\n\n
musical movement that took place in the 1970s and reflected the acceptance of the cumbia as the ultimate latin dance rhythm
la onda grupera<\/p>\n\n\n\n
cuernos de chivo is
high-powered rifles<\/p>\n\n\n\n
the likely local drug lord-saint described in the narcocorrido “jefe de jefes”
jesus malverde<\/p>\n\n\n\n
represented nationalism in music drawing from the local sounds and music
jose pablo moncayo<\/p>\n\n\n\n
elements of dance
body, time, effort, space<\/p>\n\n\n\n
describe all discreet characteristics of music and culture
enumerative approach<\/p>\n\n\n\n
gives a responsibility and definition of each role being played
structural functionalist view<\/p>\n","protected":false},"excerpt":{"rendered":"
Dynamicsvolume and articulation of sounds Formunderlying organizational structure of the sounds Texturephonic structure or relationships between the sounds Pitchfrequency of the tone Timbretone or aural colorhow we can recognize an instrument from their tone Rhythmduration of sounds and silences and organization of such Elements of Dancebody, effort, time, space Idiophonesvibrations of instruments body Chordophonesvibrations of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[],"tags":[],"class_list":["post-110146","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/posts\/110146","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/comments?post=110146"}],"version-history":[{"count":0,"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/posts\/110146\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/media?parent=110146"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/categories?post=110146"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.learnexams.com\/blog\/wp-json\/wp\/v2\/tags?post=110146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}