MUET200 - final - ,Spring2009 AVConcentrationList...

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Study Guide for Final Exam, Spring 2009 AV Concentration List  Fernanda Abreu “Rio 40 Graus” (Rio 40 Celsius) - eletronic beats, distorted guitar, addresses violence/social gaps - “Maracatu rhythm” = northern brazil version of samba, large wooden drum - light skinned, popularizes funk for upper classes - youth must take possession of space through violence - disarticulation of national identity and affirmation of local citizenship   Scha Dara Parr with Ozawa Kenji “Boogie Back Tonight” - rap hit, mellow funk song, anthem to hanging with friends, flirting with women in clubs - light hearted rap ore appropriate to Japanese teens, performed on television - wave of publicity in magazines, term “J-rap”, party rap, more playful approach - not all rappers enthusiastic about J-rap: viewed people as posers - mostly female audience, playful romp with rap lyrics and style, sympathetic attitude to main  stream culture King Giddra “Bullet of Truth” - social opposition: education system (crushes childrens dreams), media overload (advertises  sex, drugs, violence) - style influenced by American rap group Public Enemy - MCs – zebra, K Dub Shine - Changing syntax, rhymes irregularly, metaphor for King Giddra’s message - New association of thoughts- go beyond complaining about problem, change way people think  Cheikha Rimitti “La Camel” (“The Camel”) - sensual themes, daring lyrics, outcry of shock from society, denounces forced marriages,  encourages women to enjoy sexuality, indulge in its pleasure - “caravan” beat, tambourines, flutes, rattles, bells, - queen of traditional rai, raspy/seductive voice, name means wise, educated, mature, give me  more drink - different than Khaled’s version: dance beat, synthesizers, horns, special effects Cheb Khaled “Wahrane” (“Oran”) - king of rai, low voice, steady and strong rhythmic, Arabic orchestra, sexual metaphors, political  puns, criticizing undemocratic regime in Algeria, especially increased violence and injustice in  native town Oran
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- no percussion, bass uses accordion, keyboard and acoustic guitar to add intimacy and  passion, flamenco flavor, sexual rhetoric: overlap male voice and feminine twists of accordion - metaphor: emotional attachment to Oran, compared to beautiful woman wants to unite with - lyrics address agony and misery of exile and departure – strings sink in descending way to  amplify pain and apathy of Algerian struggle, lyrics address desire for justice in Oran,  dominated by cops, crime - lyrical and optimistic section: recalls childhood, nights with friends singing and drumming - dark images of violence creep, singer weeping for loss of homeland -
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  • Spring '06
  • Sandstrom
  • Japanese hip hop, Ladysmith Black Mambazo, music Music, music  older music, Chinese traditional poetry, traditional rai

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