Music 1110/World Music
Spring 2007
MUSIC 1110 INTRODUCTION TO WORLD MUSIC
SPRING 2007
KENNESAW STATE UNIVERSITY
MID-TERM REVIEW
STRUCTURE OF EXAM:
I. LISTENING (5 examples, 3 questions each, 2 pts. per question=30 pts)
II. MULTIPLE CHOICE (5 questions, 3 pts per question=15 pts)
III.TERM IDENTIFICATION (10 questions, 2 pts each)=20 pts)
IV. MAP IDENTIFICATION (India, Iran, Turkey, Java, Bali) (5 questions, 2 pts
each=10 pts)
V.TRUE/FALSE (5 questions, 2 pts each=10 pts)
VI.ESSAY (choose 1 of 3, 15 pts)
LISTENING: I will choose 5 examples from the following. For each example,
be prepared to identify:
1. country of origin,
2. genre,
3. other information, including instruments, structure/form, performing context,
cultural meaning or associations.
TITON CD SET:
2/20 ”Engal Kalyanam” (“Our Wedding”). Indian film music.
2/21 “Devi Niye Tunai” (“Devi, With the Always-Open Eyes”). Kriti.
3/1
“Sarasiruha” (“To the Goddess Saraswati”). Kriti in Natai raga,
Adi tala.
3/2
“”Kembang Pacar” (“Red Flower”). Bubaran in pélog, loud style.
3/5
“Lasem.” Playon in sléndro. Music for shadow puppet play (wayang kulit).
3/7
“Kosalia Arini” (Gamelan Gong Kebyar).
3/9
“Begadang II” (“Staying Up All Night”). Dangdut music, by Rhoma Irama.
3/10 “Shufflendang-Shufflending.” Sundanese “ethno-fusion jazz.” Group
Krakatau.
3/11 “Distorsi” (“Distortion”). Indonesian rock, by Ahmad Band.
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Music 1110/World Music
Spring 2007
TERMS: I will choose 10 terms from the following list for you to identify. Include
country/culture when applicable.
Carnatic
kriti
raga
tala
mridangam
sitar
dastgah
radif
avaz
tar
khandan
usul
Sufism
Sema ritual
Yogyakarta
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Music 1110/World Music
Spring 2007
slendro
pelog
colotomic structure
wayang kulit
MULTIPLE CHOICE AND TRUE/FALSE: Review the study questions on the Reading
and Listening Assignment sheets for India and Indonesia. Review your notes for the
Middle East.
Sample questions:
1. Is music a universal “language”? What properties does language have that music
does not (and vice versa)? Are there aspects of music that are universal? Give
examples from class.
2. What is the difference between a “soundscape” and a “music culture”? Give some
examples. Does one affect the other?
3. Describe Alan Merriam’s three-part model of music cultures. Give three examples of
each of the three parts.
4. What are the sections of the kriti? What function do they have? Describe the use and
function of improvisation in the kriti.
5. Describe typical performing forces for Indian classical music. What musical role does
each play?
6. Describe the four groups of instruments in a gamelan in terms of function.
7. Describe the khandan-musiqi continuum and give some defining characteristics of
each end of the spectrum.
8. Which music traditions were associated with court or royal patronage? Which are
associated with religious practices or beliefs?
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Music 1110/World Music
Spring 2007
ESSAYS: You will choose one essay to write from 3 possible choices. Each essay
should give at least ONE specific example of music heard in class to illustrate your
points. Essays should be well-organized, and consist of at least three paragraphs (intro
– body – conclusion). They should be 1 to 2 pages long (handwritten).
Possible topics:
1. Compare and contrast the music-cultures of India with that of Iran. Be sure to
address theory, beliefs about music, and the relationship between music and religion.
2. Compare and contrast Indian music theory with Persian music theory in terms of
concepts of melody, rhythm, improvisation, musical form and transmission of the
tradition.
3. Discuss the relationship between the music and the instruments of the Javanese
gamelan and Javanese spiritual beliefs. In what ways are spiritual beliefs manifest in
musical practice?
4. Discuss the sound-concept-behavior model as it applies to music-cultures, and apply
it to a specific example discussed in class. What is the point of the model? How does it
help us understand music as social behavior?
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