Music of the world Assignment 2

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Apr 3, 2024

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Prof. Christian MUS292 Introduction to Musics of the World Due: November 14, 2023 11:59pm Short Answer Assignment 2 1) Define Jiāngnán sīzhú. What are some characteristics of this music tradition, and how was it transformed into the China National Traditional Orchestra (CNTO)? What changed musically? Jiāngnán Sīzhú is a traditional Chinese instrumental music genre that originated in the Jiangnan region of China, which includes areas such as Shanghai, Zhejiang, and Jiangsu provinces. The term "sīzhú" translates to silk and bamboo, referring to the traditional Chinese instruments used in this genre. A characteristic is that the music is known for its melodious and expressive qualities. It often conveys a sense of elegance, refinement, and a connection to the natural surroundings. Jiāngnán Sīzhú reflects the cultural and artistic characteristics of the Jiangnan region, incorporating elements of local folk tunes and traditional melodies. The CNTO absorbed various regional music traditions, including Jiāngnán Sīzhú, and played a crucial role in the development and popularization of traditional Chinese music on a national and international scale. A musical change was that while Jiāngnán Sīzhú is characterized by a small ensemble, the CNTO expanded the instrumentation to include a broader range of traditional Chinese instruments. This allowed for a more diverse and dynamic sound. 2) Name two music traditions that were banned during the Cultural Revolution in China but were also influential in the development of yàngbǎnxì (model works). Two music traditions that were banned during this period but were influential in the development of yàngbǎnxì are Jingju (Peking opera) and Quyue(traditional Chinese music). Jingju is a traditional Chinese form of musical theater that combines music, vocal performance, mime, dance, and acrobatics. It has a rich history and was highly regarded as a traditional art form. However, during the Cultural Revolution, Jingju and other traditional art forms were criticized. Qǔyuè is traditional Chinese music that includes various regional styles and instruments, also faced suppression during the Cultural Revolution. The Communist regime targeted traditional cultural elements that were deemed as old-fashioned or associated with the pre-revolutionary era. 3) Define the Korean terms gugak and sinminyo, as given in Excursions (pp. 155 & 157) or in class slides. "Gugak" generally refers to traditional Korean music, encompassing various forms such as instrumental, vocal, and court music. "Sinminyo" typically refers to a genre of Korean folk songs that emerged during the late 19th and early 20th centuries. These songs often express the sentiments of the common people and deal with issues such as love, labor, and social justice.
4) Hindustani music is famous as an instrumental, improvised tradition of North India. Some important terms are: raga, tala, alap, jor, jhala, tihai, taan, and bol. Define each of these eight terms, as found in Excursions. Raga : A melodic framework for improvisation and composition in Indian classical music. It is a system of notes and rules for the construction of melodies. Tala : The rhythmic cycle or pattern in Indian classical music. It provides the rhythmic framework for a musical performance. Alap : The opening section of a classical raga performance. It is a slow, free-tempo improvisation focusing on the exploration of the raga without a fixed rhythm. Jor : The second section of a raga performance, characterized by a medium tempo. It serves as a bridge between the alap and the faster- paced jhala. Jhala : The concluding section of a raga performance. It is fast-paced and involves intricate rhythmic patterns. Tihai : A rhythmic pattern repeated three times, creating a sense of resolution. It is often used as a concluding pattern in a musical performance. Taan : Elaborate and fast melodic passages in vocal or instrumental music, showcasing the performer's virtuosity. Bol : The mnemonic syllables used to represent the various sounds produced on a musical instrument or sung in vocal music. These syllables help in learning and communicating musical compositions. 5) Japanese imperialism had a profound impact on East Asia during the late nineteenth and twentieth centuries. We have seen how Chinese and Korean cultures transformed during the twentieth centuries as a result of this imperialism. Thinking about Korea specifically, discuss the three versions of “Arirang” as described in Excursions and explained in class. Discuss the differences between the three versions and how they changed in relation to the cultivation of national music and Japanese imperialism. During the period of Japanese rule over Korea from 1910 to 1945, the Japanese government pursued a policy of assimilation. This involved suppressing Korean culture, language, and traditions while promoting aspects of Japanese culture. The goal was to erode Korean identity and create a more homogenous imperial society. In the context of music, this assimilation policy had a profound impact. Traditional Korean music and cultural expressions were suppressed, and efforts were made to replace them with Japanese cultural elements. However, resistance and preservation efforts persisted among the Korean people. In general, folk songs like "Arirang" often serve as cultural symbols and repositories of national identity. The variations in the song may reflect regional differences, historical experiences, and the evolving cultural landscape.
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