Post #6 - Japanese Noh

This video is not actually of a Noh performance but more of an informational video.

Elements of Japanese Noh
- This art lies heavily on tradition.
- The hayashi, or the musical ensemble, composed of the nohkan flute and three small drums ( the taiko, the o-tsuzumi, and the ko-tsuzumi).
- Masks are often used by the main actor if depicting a god, old man or anyone else other than an adult male.
- Women's masks typically are designed to display several different emotions depending on it's orientation and/or lighting.
- Music is nonpulsatile and standardized resulting in "floating, dreamlike meditation" (Alves 209).
- The singing is similar to Buddhist chanting.
- Stage is relatively empty (to correlate with the Japanese ma principle) with few props, but the props that are present are highly symbolic. The Noh stage is also unique with specific components.
- The actors sometimes stomps.
- The exclamations from the drummers called kakegoe are also components of Noh.
- Fans are used as props and are also symbolic.
- Movement is subtle, graceful, and standardized.
- There tends to be a male chorus.
- There are defined roles (with help from this site) such as the shite, the main actor, the tsure, the shite's companions, and the waki, the secondary characters, the shite's foil.


Here is a video of an actual performance, a "Kamo" presentation, or a dance of the thunder god.

Post #5 - Hindustani Music

In this performance of "Darbari Tarana" by Pandit Satyasheel Deshpande, it seems (to me) that the single soloist is improvising for the majority of the performance. I understand that "improvisation" in this culture doesn't necessarily mean the same as it does in contemporary popular American culture. In a more rigidly defined music culture such as this one, the soloist or performer has to use his own style and sense in how to execute the traditional details. I infer that this improvisation was based on raga.
There is the notable, characteristic drone heard throughout the piece played by one of the chordophones, most probably a sitar. There was also accompaniment by a set of hand drums. The number of musicians was also small, as often expected because orchestral music is uncommon in India. I would categorize this as a homophony, and possibly quasipulsatile. There are actually several lulls in the music where the volume decreases, but there's a gradual crescendo. I think the unadorned, black backdrop of the stage directs and focuses the attention of the audience solely on the music.
Pandit Satyasheel Deshpande is actually known for his specialization in khyal, a popular vocal genre where it more embellished, reminiscent of the melismas or vibratos. From the comments, Deshpande seems to have great style and is extremely expressive in his music.

Post #4 - Googoosh

According to the video poster, this was performed in Anaheim, California on October 7, 2000, the year that the Islamic Republic of Iran finally allowed her to perform outside of Iran. The exiled Iranians were more than happy to welcome her, seeing this as a valuable cultural exchange with America. She was performing on a big stage, with an appreciative audience that applauded loudly at the end of her performance.

Googoosh herself was very into the music, very passionate in expressing her lyrics. Possibly this could be described the feeling of tarab, the strong emotion that comes from really expressive music.

In this performance of "Marham," Googoosh uses a lot of elaborate melismas, characteristic of Middle Eastern music. Melismas are melodies with many notes to a syllable, which I think is really similar to a vibrato. It sounded like a homophony to me, with Googoosh's vocals as the melody accompanied by the band behind her. You could say the rhythms were based on the beat patterns.Many instruments are also featured such as the piano and guitar, a chordophone, a trumpet, a aerophone, and the drums, a membranophone.

Since I am altogether unfamiliar with Iranian styles of music, I can only infer that this fuses a lot of folk elements with popular Iranian music. It definitely has the distinct trait of Middle Eastern music.

Extra Credit #4: Chinese New Year Celebration

The celebration was FANTASTIC! I was captivated the whole show.
It was late evening when the celebration took place, held in the tiny auditorium in the Conference Center. The place was jam-packed! Sadly, some people were turned away or left to standing in the aisles.Although the audience was largely made up of Chinese or Asian people, there was also a mix of other races too. I liked that the audience had some diversity.

The show starts off with a display of martial arts. The performers all had on traditional Chinese dress and seemed really focus on their actions. Of course the performers would differ in each act. In the "Glamorous Peacocks" dance, the girls were more lively and smiling. The costumes were really intricate and pretty. The Peking opera singer's costume was really cool. When the singers sang some English songs, they reverted to Western clothes.

Music-wise, besides the English songs, everything else had a relatively distinct Chinese element to it. The folk song "Jasmine Flower" was lovely, very soft and pretty. The Peking opera utilized a lot of percussion which I really liked because it made all the actor's movements more dramatic. The ending act, the Xinjiang "Jierla" was the song that they played for us at the discussion except with dancers. Along with the music, the costumes also looked distinctly different from the previous costumes, really showing that it was a part of a different ethnic group's culture. It's amazing how China is so diverse just within itself!

Extra Credit #1- Cultural Exchange

The Student Art Troupe from UIBE were really kind to give us a sampling of their upcoming show.

I was glad to hear there would be Peking opera. One student demonstrated the pitch difference in a female and male opera singer's voice. Growing up, I've been familiar with the Vietnamese version of Chinese opera, and I've always been intrigued by the makeup, costumes, and especially the battles that they perform.

When we were asked about music in the USA, I noticed that our class seemed to be more biased towards the rock genre, which may skew the Chinese students' perspectives. However, the main speaker did bring up Lady Gaga, so I think they are relatively aware already of the "popular" music culture in America. One female student brought up jazz and the appeal of its improvisation.

On the topic of folk music, none of us could really provide a concrete example, since our music is so blended and mixed. I liked how one student put it, that because America is so diverse, the folk music could actually be considered to come from each individual's place of origin. In contrast, China with its numerous and various ethnic groups has an array of folk music. The Chinese students even obliged us with a song on the guitar. I also agree that it had characteristics very similar to a song that could be popular in the US. It was very lively and upbeat. One female Chinese student also sang us a very pretty folksy song, which reminded me of old (dubbed) Chinese ancient dramas I used to watch.

Post #3 - Music Faculty Concert (40th Anniversary)

I quite enjoyed An Evening of Latin Music last Friday. Held during the late evening in a rather small auditorium, the audience was politely quiet as the music played. It was full of many different types of people, from students to parents and even little children. As for the performers, they all seemed very professional and displayed a lot of emotion into playing their instruments.
During the Semi-Suite's second play of The All-Purpose Rag, the violinist seemed to have a bit of fun, acting in a joking manner. With this piece, the drums and triangle were added to the predominant violin, clarinet and piano. The tempo was overall fast with a slow lull at a point. To me, it sounded a little like a random collection of discordant noises. The song even ends with each player striking a final, emphatic note. I believe some of the audience had an amused response.
With How Insensitive, the electric guitar and piano took center stage. It started slowly, but gradually grew more lively, with the drums and bass joining in. In the jazzy Lamento, there was also a drums solo.
The ending piece Tango di Tango, showcased an accordion which really added to the dramatic effect of the song. It was a great song to end the night.