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Week 13: Assignment

Due: May 5

CH. 9: The Europe: Greece, Spain, Scotland, Ireland, Bulgaria

1. Discussion on folk music:


a. How and when did the notion of the “folk,” and by extension “folk music,”
emerge and what did it come to represent?
b. Who coined the term “folk song,” when, and what did they believe it represented?
c. What is the common view held by ethnomusicologists about notions of “folk?”

2. Listen to “Greece: Greek Orthodox (Byzantine) Chant” (CD 2.12) to answer the
following:
a. What are your initial impressions of the recording? Does it remind you of any
other music we have studied so far in this class with regards to performance
practice, instrumentation, or other sonic features?
b. What kind of scale or music theory system/mode is rendered in a Byzantine chant
of a Greek Orthodox church? What is the modal system akin to that we have
covered in previous chapters?
c. What were/are some of the cultural beliefs about chanting and music for worship
that Orthodox Christian worshippers claim to represent ancient Byzantine church
traditions?
d. Watch/listen to this example of Ukranian Orthodox Christian chanting at
Christmas: https://www.youtube.com/watch?v=0w4pBsPhoIk
How is it similar to or difference from the Greek example in our text?

3. Discuss briefly the origins of flamenco (in a few sentences). Also provide a definition of
the following within the context of the traditional components of flamenco:
a. What is cante?
b. What is a juerga?
c. What is jaleo?

4. Listen to “Spain: Flamenco” (CD 2.13). Define what is the cultural notion of “duende”
AND describe when is rendered in this performance/ musical recording. At which points
of the recording do you think duende is at their highest level(s)? How would you describe
the vocal timbre of this style of music?

5. Watch this clip of a flamenco dance performance in 1965 to answer the following:
https://www.youtube.com/watch?v=3VyNakWH6pw

a. Where do these dancers and style of dancing originate according to scholars?


b. How is duende conveyed through the dancing?
c. What are some of the different footwork techniques?
6. Listen to “Scotland: Highland Pipes” (CD 2.15) and watch this example of a Highland
(Scottish) bagpipe performance at the World Pipe Band Championships:
https://www.youtube.com/watch?
v=4aDudXdbyH0&list=RD4aDudXdbyH0&start_radio=1

a. What is the part/piece of the bagpipe instrument that creates the melody line?
b. What is pibroch and how is it performed? (Listen to the recording and follow the
Listening Guide to answer)
c. Do you hear pirbroch in the video performance at the competition (hyperlink
above)? At which times (provide at least 3 time stamps)

7. Listen to “Ireland: Uilleann Bagpipes” (CD 2.16) What are some differences between
Scottish and Irish bagpipe traditions? Be sure to include a short discussion as to what are
reels.

8. Listen to “Bulgaria: Women’s Chorus” (CD 2.18) and watch this clip:
https://www.youtube.com/watch?v=AFgzzWT3zX4

List three notable or distinctive sonic features of this style of music and vocal
performance.

9. What is a gaida?

10. With regards to Bulgarian music, briefly describe the significance of “folkoric” music
ensembles within constructions of national identity within the larger context of European
geopolitics.

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