Questions for Passing it On
1.) The four constructs the author gives for examining the transmission of musical traditions
are culture, canon, community, and communication.
2.) The author defines enculturation in terms of socialization, identity, and assim
No, Not Bali Hai! Chapter 6 Questions
The author is David Harnish, professor at Bowling Green State University. He has taught
Balinese gamelan gong kebyar there for ten years, and previously spent a few years
Chapter 5: #1, 2, 6
As rhythm is to duration and pitch is to frequency, dynamics are to amplitude.
A tone that crescendos gradually gets louder; a tone that decrescendos gradually gets
6.) The basic distinction between an electrophone whic
Questions for Javanese Shadow Theatre: Movement and Characterization article
The literal meaning of wayang kulit is shadows from hide, but the term has other
meanings to the Javanese, including shadow theater, the act of per
Page 323 #1,2,3
1.) Deng Haiqiong is a young Zheng player and composer. Since her professional
debut in 1997, she has developed an international reputation, performing in world
music festivals and giving performances all over the world, includ
Chapter 6: # 2, 3, 8
A monophonic texture is one which includes only a single melodic line.
Heterophonic texture occurs when a single melodic line is performed in
slightly different ways at the same time. Polyphonic texture occurs when
Chapter 7 Questions
A Gamelan is an ensemble that plays traditional Indonesian music. It can be loosely
translated as orchestra or ensemble, but the direct translation is to handle.
The author has an intimate conne
Chapter 4: #1, 2, 3
As rhythm is to duration, pitch is to frequency.
A melody is a sequence of unfolding pitches. A melody has a range, direction,
character and contour. Melodic range, or tessitura, refers to the distance between
Chapter 3: #1, 7
The four basic properties of tones, as defined by Bakan, are duration, frequency,
amplitude, and timbre. Duration, known to musicians as rhythm, refers to the relative
length of the tone in the given context. Frequency, or pitch, desc
Bakan pg.7 #2; pg 29 #1,2,6
The HIP approach is one which provides the proverbial benefit of the doubt to an
analysis of music. Regardless of our feelings toward a piece of music, we treat it as music if its
producer intended it to be music, or if any