Notation Naming Notes Solfege o Tells you are in relationship to the "home note".

Musical alphabet in the Western system. o Tells you what exact note to play South Indian system "Raga" o Sa, ri, ga, ma, pa, da, ni, sa o Same as solfege. o Sometimes a substitute for the word music. o Means a lot more than just the notes that are used. Specific ornaments for different syllables. Balinese system o Ning, Nong, Neng, Nung, Nang o Names tell you what notes to play o Uses the first letter of each syllable to represent the sound of the instrument. Modes and Moods Western modes Indian ragas Persian dastgahs Arabic maqam o Has a possible 24 notes in the octave Each mode has a different mood o Same mode can have completely different moods in different cultures. Describing Melodic Relations "Tonic" o Does the system have a "home note" o Do they tend to start up and go down or vice versa, etc.? Classical western music tends to go up and back down o Steps and leaps Can you discern a scale? Does the melody stay mostly in steps or does it have lots of leaps? Relation to "strong" pitches in the mode Dominant V Solfege hand signals Do: rock solid Re: at a slant, needs to resolve, either up one or down one Mi: flat hand signal, solid sound Fa: thumbs down, leads down to mi, unstable note Sol: Flat hand facing you, stable note La Ti: points up, unstable note that needs to resolve up to do Raga Has "strong" pitches, too. o "Horizontal" relationships

Notes leading into other notes

Describing Harmonic Relations In what ways do notes sound at the same time? Vertical and Horizontal Intervals

Musical Form Musical "Space" Time o Beat, tempo, meter, phrases, rhythm o The horizontal axis Pitch o Tonic, scale, mode, consonance, dissonance, harmony o Vertical axis Sonority o Instrumentation, timbre, texture o The 3rd dimension o Texture How many sounds you hear going on. What the sounds relationships towards each other are. Describing Musical Texture Monophony o Can have a single voice/instrument performing in isolation o Changes in dynamics, other details, very important because there's nothing to distract from those changes o Can also have a group, but they must all be singing/playing the same note (as in plainchant) Heterophony o Probably the most common musical texture outside of western music o Most voices/instruments are performing the same melody, but they have differences in how they articulate that melody One instrument might play a lot of ornaments. Another instrument might speed up and then wait for the other parts to catch up. E.g. Egyptian Sufi chant (voice w/ nay flute) and Euis Komoriah, "Pager Baya" (voice w/ suling and kacapi) Homophony o Voices/instruments will perform different notes, but will move together o Hymns o "Angels We Have Heard On High" verse Polyphony o Different lines played/sung at different times o "Angels We Have Heard On High" chorus Antiphonal o "Call & response" texture o Evokes dialogue

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Certain opera houses had choirs seats in different places so performances could have antiphonal texture between choirs E.g. Seckou Keita and ensemble, "Foune"

Musical form The shape it takes through rhythm, pitch, and texture. Hearing form Musical considerations Extramusical considerations: o Public event? o Ritual? o Narrative? o Commercial purpose? Length of commercial What are the visuals? Target audience The "plot" of the commercial Is there dialogue? What are the most important parts? o Church Hymns Scalable Can sing as many verses as needed. Case Studies o Chinese pipa, "The Great Ambush" (p. 147) Through-composed Doesn't have major repeated sections, musical ideas are always changing Tells a story (t-c helps with that) o Irish Dance Tune Medley: "First House in Connaught"/"Copper Plate Reel" Binary form Two alternating themes A: 8 bars, repeated; often in lower melodic range B: 8 bars, repeated; often in higher melodic range Has to fit with dance steps o Hindustani (North Indian) instrumental Performance (Tracks 14-15) Raga (mode): Jog Sa=C, Re=D, Ga=Eb/E, Ma=F, Pa=G, Da=-, Ni=Bb Tal (meter): Tental (16 beat) "Badhata" (form) Continually evolving Starts with Alap: Slow, non-metrical About musician introducing the music to us slowly Jor: Pulsed Steady beat Jhala: Pulsed, faster, music gets more varied Gat: Composed, w/ Meter (tala), slow The composition has finally been created

2nd Gat: Composed, w/ Meter (tala), fast Jhala: Fastest No key changes because of drone Korean "Sanjo" Performed on Komungo and Chang-gu Track 1.24 Pg. 154 Meters: 3 meters Chinyangjo Chungmori Onmori Each "Changdan" (meter) has a specific tempo Western Classical Music: sonata form Three sections Exposition A (I) B (V) Development ? ? Recapitulation A (I) B (I) Classical period is during time of "enlightenment" Scientifical and political advancements Art of rhetoric, of convincing of the truth, becomes very important Essay "form" Sonata form is like rhetoric, or an essay Ex: The issue (things get weird - V) Dev: Explain it, work it out (trying to get back to normal) Rec: Re-state (stability is restored) When they talked about classicism they were talking about the ancient Greeks (their enlightenment The reason they would repeat sections Western Classical Music: French Overture Overture background King Louis XIV Fostered arts Demonstrated how important he was by coming in during the opera Became known as the "Sun King" because he was Apollo in a performance Court composer: Lully Wrote operas Transition from the real world to the opera world Two parts Part A Slow, dotted duple rhythm Dotted rhythms show power

Part B Faster, no dotted rhythms Western Hymnody: Strophic Form The music repeats, but the words change Word form must stay the same "There Is a Green hill Far Away" American Popular Music: "AABA" Form Repetition, but enough contrast to create interest E.g. "I Got Rhythm" & "Somewhere Over the Rainbow" We're used to this structure which can make it difficult to enjoy other forms