Sound is created when an object vibrates.

These vibrations are perceived by our ears and then sent to our brain. Our brain in turn analyzes these signals and let's us know what type of sound we are hearing (i.e. an alarm clock ringing, a car horn blaring, etc.). Music is differentiated from other sounds because it has certain qualities. When you listen to a piece of music, you'll notice that it has several different characteristics; it may be soft or loud, slow or fast, combine different instruments and have a regular rhythmic pattern. All of these are known as the "elements of music."

Beat and Meter - In order to define meter, let's first define beats. Beats give music its regular rhythmic pattern. Beats are grouped together in a measure; the notes and rests corresponds to a certain number of beats. Meter refers to rhythmic patterns produced by grouping together strong and weak beats. Meter may be in duple (2 beats in a measure), triple (3 beats in a measure), quadruple (4 beats in a measure) and so on. Dynamics - Dynamics are abbreviations or symbols used to signify the degree of loudness or softness of a piece of music. It also indicates whether there is a change in volume. Harmony - In general, harmony refers to the combination of notes (or chords) played together and the relationship between a series of chords. But to give you a better understanding of harmony, let's first define melody. Melody refers to the tune of a song or piece of music. It is created by playing a series of notes one after another. Harmony accompanies and supports the melody. It is created by playing a group of notes (either simultaneously or as broken chords) behind the melody thus giving it musical texture. Also See: Major triads Minor triads Major and minor 7th chords Dominant 7th chord Sixth and Ninth Chords sus2 and sus4 Chords Key - Also known as tonality; a principle in music composition wherein at the end of the piece there is a feeling of completion by going back to the tonic. The tonic (main key or home key) is the principal pitch of a composition. Simply put, key refers to the central note (i.e. key of C), scale (i.e. C scale) and chord (i.e. C Major triad) Also See: Major Scale Minor Scale Chromatic Scale Key Signature Melody - It refers to the tune of a song or piece of music. it is the memorable tune created by playing a succession or series of pitches.

Also See:
I - IV - V Chord Pattern ii, iii, and vi Chords Modes

Musical Instruments and Voice - Musical instruments are classified as percussion, strings,woodwinds, brass and keyboards. Another method of classifying musical instruments according to the type of vibrating material used to produce sound is called the Sachs-Hornbostel System. Our voice is also considered a musical instrument. Each of us has a different voice type or vocal range and no two voices are alike. Music Notation - Refers to the symbols used to represent music when writing it down. These symbols specify the pitch, rhythm and meter of a piece of music. Also See: Music Theory 101 Pitch - The relative lowness or highness that we hear in a sound. The pitch of a sound is based on the frequency of vibration and the size of the vibrating object. The slower the vibration and the bigger the vibrating object, the lower the pitch; the faster the vibration and the smaller the vibrating object, the higher the pitch. For example, the pitch of a double bassis lower than that of the violin because the double bass has longer strings. Pitch may be definite (i.e. piano) or indefinite (i.e. cymbals). Rhythm - It may be defined as the pattern or placement of sounds in time and beats in music. Roger Kamien in his book Music: An Appreciation defines rhythm as "the particular arrangement of note lengths in a piece of music." Rhythm is shaped by meter; it has certain elements such as beat and tempo. Tempo - The Italian word at the beginning of a music piece that indicates how slow or fast the piece should be played. This is called the tempo which is effective throughout the duration of the music unless the composer indicates otherwise. Texture - Musical texture refers to the number of layers as well as the type of layers used in a composition and how these layers are related. Texture may be monophonic (single melodic line), polyphonic (two or more melodic lines) and homophonic (a main melody accompanied by chords).

Textures of Non-Western Music Many world musics are monophonic in texture, and a few are also polyphonic. A monophonic texture may sound quite complex if the composer employs a rich "palette" of musical timbres. The musics of Africa and Indonesia have the appearance of complex polyphony. Homophony has been used more in the West than in other cultures as Western music has a highly developed harmonic component. Monophony or Monophonic Texture

Music that is composed of a single line of melody (or a rhythmic line played on a percussion instrument) is said to have monophonic texture. This is the most ancient of musical textures and occurs in present-day musics of many cultures. Unaccompanied song is monophonic in texture. A single musical instrument playing a melody or many instruments playing the same melody is monophonic texture. If a single melodic line is coupled with a contrasting percussion accompaniment of equal complexity the term monophony is inappropriate. The appropriate term for this texture is polyphony. Polyphony or Polyphonic Texture Music that is composed of two or more lines of melody of relatively equal complexity is said to have polyphonic texture. In the music of the West polyphonyappeared first during the 9th century in the sacred music of the Roman Catholic Church. The craft of combining two or more melodies of equal complexity that occur in music at the same time is known as counterpoint (i.e., point against point). Music that has a polyphonic texture is said to be contrapuntal. Melodic lines in a polyphonic texture are complementary to each other &endash; they sound well together and do not "interfere" with each other sonically. Each melodic line in a contrapuntal texture occupies a separate sonic range and their rhythmic activity and linear contours compliment each other. If polyphonic lines were to occupy the same range or have rhythmic patterns that were similar, each would lose its complimentary role to the other.

The term antiphony identifies the stereo or quadraphonic effect achieved by placing two or more groups of performers at different locations in a performance space (such as a large church or performing hall). When each antiphonal group alternates its musical material in succeeding phrases this "effect" is known as antiphony or the music is said to be antiphonal. Another term for this technique is call and response wherein different groups of musicians "toss" music back and forth like a tennis ball in a tennis match. This was a very common mode of performance during the Renaissance in Venice at the church of San Marco with its double choir lofts each with its own organ. Since that time many composers have used this dramatic effect in their music often in more modest spatial settings but with the antiphonal effect clearly being a part of the "texture" of the music. Heterophony is an "echo" or "shadow" effect in music, wherein melodic material is played by two or three different performers in very close musical proximity one to the other. One performer plays the basic melody while the other performers "echo" or

"shadow" the melody notes by playing slightly after the basic notes. In some heterophonic styles the "shadow" performer not only "echoes" the basic melodic tones, but also ornaments them as well. This musical "effect" is used a great deal in non-Western musics such as in China, Indonesia (Bali, Java, Sumatra), the Middle East (Persian and Arab musics), and in certain parts of Africa.
Timbre - Also known as tone color; it refers to the quality of sound that distinguishes onevoice or instrument from another. Timbre may range anywhere from dull to lush, from dark to bright (such as the sound of glockenspiels).

Elements of Music - Part Five

The tonal-gravitational forces for harmony are more complex and powerful than those of melody yet they originate from the same source the scales of the major-minor tonal system. The term functional harmony defines the gravitational harmonic tendencies found within the major-minor tonal system. Functional harmony uses terms that clarify additional understandings about the majorminor tonal system. Harmony that limits itself to the seven tones of a scale is known as diatonic harmony. Harmony that admits additional tones beyond the basic seventone scale is known as chromatic harmony. Harmony is the primary ingredient in the phenomenon of modulation (change of key center) in Western music. It is mostly the harmonic materials of a musical passage that accomplishes modulation and indicates modulation to the ear. This is accomplished by introducing chords of the new key (most notably the dominant chord of the new key) by using the "tools" of chromaticism (chromatic harmony). Harmony contributes to the effect of motion in music. Since harmony is derived from scale pitches, harmony automatically assumes the gravitational properties that scales display. The gravitational attraction of scale pitches impart goal-oriented motion to the effect of harmonic progressions that are designed with this gravitational effect in mind. Chords that move by root movement up an interval of a fourth, down a fifth, down a third or up a second, give a strong sense of goal oriented motion to passages of music. When chords progress by root movement that is contrary to natural gravitational

tendencies the effect of forward motion is actually prolonged. Since rhythm is also an integral part of harmonic accompaniment, harmonic progressions contribute a strong and sustained sense of movement to music. Harmony contributes to the structural design of music. The arrangement of melodic material lends itself to hierarchical design more noticeably than does harmony. This is because repetition of patterned material is more obvious in melody than it is in harmony. When melodic material repeats so may the accompanying harmony, and it often does. In this sense harmony does support the structural design of melody and overall musical material generally. However, harmony is the material composers most often vary when harmony accompanies repetitive portions of melody. Harmony supports the structural design of musical components by helping to define climatic and cadential points in each phrase. Unstable chords may occur at climatic points and the traditional dominant (V) - tonic(I) chord progression is found at cadential points. Harmony contributes directly to the structure of strophic songs (songs that repeat melodic material for each stanza of new text). In such songs the harmony may vary in each stanza. However, composers are usually sensitive to how the harmonic accompaniment mirrors the organizational structure of the text. Harmony heightens the meaning of text. Certain words are more emotionally charged than others in both prose and poetry. When setting music to text more stressful words may be accompanied by chords of more intensity or key words that imply love and passion may be accompanied by more "passionate" harmonic material. This harmonic technique gives a heightened effect to highly charged words of text intensifying the emotional meaning of the words for the singer as well as the listener. Basic Elements of Music: Dynamics The term for gradations of amplitude (louds and softs) in music is dynamics . Dynamic levels are often "interpreted" by performers who add subtle dynamic "shading" to music. Dynamic levels are a natural indicator for emotional mood. Loud dynamics are associated with vigor, turmoil, conflict, valor, et al. Marches, fanfares, and triumphal music tend to be loud. Soft dynamics are associated with tranquillity, repose, calmness, sensuality, et al. Love songs, lullabies, wistful and melancholy songs and certain sacred music tend to be soft. The wrong dynamic level has the effect of making a piece of music ineffective and illogical as an indicator of mood.

Dynamics are a part of the articulation of "accent" in music. Dynamic accents (accents of loudness) breathe life into all musical passages. Agogic accents (accents of length) draw attention to specific tones and clarify those tones as distinct from other surrounding tones in a melody. Dynamic levels are a factor in the repetition - variation - contrast process of music. Patterns of dynamic levels may be repeated in corresponding repeated melodic patterns. This supports the profile of the melodic pattern itself. As with tempo, spoken and written terms relating to dynamics are expressed mostly in the Italian language. These terms include:

Dynamics contribute to the effect of motion in music. Dynamic levels that contrast between motives or phrases of music contribute to the sensation of motion and movement in music. A contrast of dynamic levels creates a state of change in musical material which automatically produces the effect of motion in sound. Goal-oriented motion through dynamics may be created by levels of dynamics that successively become louder, phrase after phrase, or by a gradual increase in loudness through a more subtle technique known as crescendo (the Italian term for "gradually louder"). Basic Elements of Music: Timbre (Tone Color)

The harmonic profile or sound quality of a sound source is timbre or tone color in music. Certain descriptive words may be used to express the effect of musical timbre or tone color such as: dark - brilliant; opaque - transparent; rich - mellow; fuzzy clear; dull - sharp; complex - simple, et al. As a metaphor, musicians consider sound in the same manner that painters consider "color" (hence the term "tone color") and respond to the mixing of sound sources much the same as a painter responds to the mixing of oils. Music timbre contributes greatly to the effect of mood in music. Timbre is determined by the harmonic profile of the sound source. Every sound source has an individual quality that is determined by its harmonic profile.

Timbre influences human mood. Sound sources which have a complexity of harmonic profile enjoy a psychological "richness" of sound. Timbre stimulates human energy levels without regard to rhythmic or harmonic saturation. Sound sources that have simple harmonic profiles have "darker" timbres and tend to soothe human emotions . Bright or rich timbres coupled with loud dynamics affect moods of vigor, turmoil, conflict, and valor. The same timbres coupled with soft dynamics affect moods of sensuality, passion and compassion. Dark or simple timbres coupled with loud dynamics are encountered only occasionally in music and affect moods of starkness and loneliness. The same timbres coupled with soft dynamics affect moods of mystery and terror. These combinations are subjective to all listeners but are well understood by theater and movie composers. Timbral combinations provide unique possibilities for music. Often composers assign successive segments of melody or other material to different instruments. Certain orchestral combinations of instruments sound very much like other non-orchestral instruments. Instruments of music have long been associated with the natural world. Flutes, for example, very often represent the songs of birds. Basic Elements of Music: Instruments Musical instruments are the "colors" of music. Musical instruments of all traditions have evolved over many centuries and each has a colorful history of development.Organology is the term used for the study of musical instruments and is one of the most fascinating aspects of the study of music. String Instruments (aka: strings ) Bowed: violin, viola, cello, doublebass, viola da gamba Plucked: guitar, lute, mandolin, harp Woodwind Instruments (aka: Woodwinds ) piccolo, flute, clarinet, oboe, bassoon, saxophone, English horn, bass clarinet, contrabassoon, recorder Brasswind Instruments (aka: Brass ) trumpet, French horn, trombone, tuba Percussion Instruments (aka: Percussion )

cymbals, triangle, bass drum, xylophone, timpani or kettledrums, snare drum, tomtom, bongos, timbales, congas, claves, tam-tam, tambourine, castanets, wood block, temple blocks, marimba, glockenspiel, chimes, vibraphone, plus a wide assortment of noisemakers. Curt Sachs' Classification System for Musical Instruments The musicologist Curt Sachs formulated a system of music instrument classification based on the material of the vibrating source. This system is very useful in the classification of all musical instruments world-wide and especially useful in those areas of the world where there are a few similar instruments with many different names a good example of which is Africa. Idiophones Instruments made of naturally sonorous material not needing additional tension to create sound. Examples: xylophones, bells, cymbals, gongs, claves, scrapers, rattles. Membranophones Instruments creating sound by stretching a membrane over an opening. Examples: All drums. Aerophones Instruments usually referred to as "wind instruments" and most often needing the breath of the player to create sound. Examples: flute, oboe, clarinet, saxophone, trumpet, horn, trombone. Chordophones Instruments creating sound by the vibration of a stretched string under tension. Examples: violin, viola, cello, harp, guitar. Electrophones Instruments creating sound by the oscillating of amplified electric circuits.

Examples: electronic music instruments. Fundamental Level of Music Making: Meter, Tempo, Rhythm, Melody, Harmony, Dynamics, Timbre, Instrument(s) The combining of meter, tempo, rhythm, melody, harmony, dynamics, timbre, and musical instruments creates a sense that music is "organized". The combination of any or all of these elements to form "music" provides for the notion of musical unity . There are Eight Basic Elements of Music meter, tempo, rhythm, melody,harmony, dynamics, timbre, and instruments. It is these Eight Basic Elements which constitute the primary materials for the composition of music at the fundamental level, and it is the combining of these Eight Basic Elements that creates a composition of music. Once a composer begins combining the Eight Basic Elements into a work of music, there are various procedures by which the Eight Basic Elements are transformed. Three of these procedures exist as a mid-level group known here as the Three Foundational Procedures. The upper-level group of procedures is known here as the Four Combinational Operations. Any music must automatically contain two of the Eight Basic Elements timbre and dynamics. Any sound source will automatically have an harmonic profile and will produce a certain intensity of sound. The six remaining Basic Elements are more variable in a piece of music. Some music may lack one or more Basic Elements. Some music may include all of the Basic Elements. Mid-Level Music Making: Three Foundational Procedures: Repetition, Variation, Contrast There are Three Foundational Procedures in music that are basic to the composing of music. These three foundational procedures are repetition, variation andcontrast. These procedures constitute a "method of procedure" for every operational dimension of music. They are foundational procedures seen not only in music but also in other art as well as all aspects of nature. Composers weave and mold the Eight Basic Elements into small patterns of material which become larger patterns of material that ultimately make up the complete structure of a work. One or more of the Eight Basic Elements functions as "idea" (usually melody) in any given passage, while the remaining elements serve as "accompaniment" to the "idea". Musical structure has various layers of complexity in any composition and these various layers exist in a continuum ranging from the micro (small) level, the mid (intermediate) level, to the macro (large) level of musical structure.

At the micro-level, the smallest complete unit of musical structure, is a phrase which is comprised of patterns of material fashioned from the Eight Basic Elements. A phrase is a length of musical material existing in real time with a discernible beginning and ending. Phrases are usually eight to sixteen measures in length but may be longer. When relating musical phrases to melodic lines, it is important to realize that while melodies are comprised of complete phrases of patterned tones, each individual melodic phrase may be broken down into smaller incomplete units of melodic structure known as motives. Melodic motives are usually two- or fourmeasure patterns of melodic material. In sum, the micro level or musical structure is comprised of two units the smaller and incomplete motive, and the larger and complete phrase. The mid-level of musical structure is made up of sections of music. Phrases combine to form larger sections of musical structure. The length of a section may vary from sixteen to thirty-two measures in length - often, sections are much longer. Sections are punctuated by strong cadences. Longer songs and extended pieces of music are usually formed into two or more complete sections, while a shorter song or melody may be formed of phrases and have no sectional structure. At the macro-level of musical structure exists the complete work formed of motives, phrases and sections. Both phrases and sections are concluded with cadences; however, the cadence material at the end of a section is stronger and more obvious in its punctuation. These are the micro-, mid- and macro-levels of musical structure motives, phrases and sections and the complete composition. This is the manner in which Western music is conceptualized as structure. Many other world musics are conceptualized in a similar manner. This approach of musical "mapping" may serve as an excellent "entry" to the unfolding of the architectural structure of any piece of music whether Western or non-Western. Musical structure has a close affinity with architecture and mathematics. As a metaphor, music composition is often described as "architecture of sound" or "mathematics transformed into sound". Many compositional decisions that involve pitch relationships are mathematical in nature. Computer software programs - e.g., MatheMatica et al- now allow mathematic's equations to be transformed into sound. Repetition of the material of music plays a very important role in the composing of music and somewhat more than in other artistic media. If one looks at the component motives of any melody, the successive repetition of the motives becomes apparent. A melody tends to "wander" without repetition of its rhythmic and pitch components and repetition gives "identity" to musical materials and ideas. Repetition is also used in

chord progressions and in patterns of dynamics and timbre. Whole phrases and sections of music often repeat. The following illustration represents musical repetition.
a - a - a - a - a - a - a - a - a - a - a - a - a - a - a - etc.

Variation means change of material and may be slight or extensive. Variation is used to extend melodic, harmonic, dynamic and timbral material. Complete musical phrases are often varied; however, whole sections of music are usually not treated with variation. If one were to symbolize musical variation in a simple way using lower case letters of the alphabet, it would look like this:
a a1 a2 a3 a4 a5 a6 OR a a' a'' a''' a'''' a''''' a'''''' etc.

Contrast is the introduction of new material in the structure or pattern of a composition of music that contrasts with the original material. Contrast extends the listeners interest in the musical "ideas" in a phrase or section of music. It is most often used in the latter areas of phrases or sections and becomes ineffective if introduced earlier. If one were to symbolize musical "contrast" in a simple way using lower case letters of the alphabet, it would look like this:
a-b-c-d-e-f-g-h-i-j-k etc.

Basic Patterns of Repetition, Variation, and Contrast Repetition, variation and contrast may be seen in basic patterns. These patterns have been found to be effective at all levels of music structure, whether it be shorter melodic motives or extended musical compositions. These basic patterns of repetition, variation and contrast may be found not only in all world musics, but also in the other arts and in the basic patterns of nature. Basic patterns of repetition, variation, and contrast:

These six basic patterns of repetition, variation, and contrast form the basis for the structural design of melodic material, the accompaniment to melodic material, and the structural relationships of phrases and sections of music. When these basic patterns are reflected in the larger sectional structure of complete works of music, this level of musical structure defines the larger sectional patterns of music. The conceptualization and fashioning (planning, design, implementation) of a piece of music begins with the organization of the "Eight Basic Elements of Music" by the "Three Foundational Procedures". A music "idea" is conceived and extended by the materials and processes of these two "levels" of conceptualization. There is a third and higher level of conceptualization wherein other components are fashioned by the composer. This third level is referred to here as the Four Combinational Operations of Music and it is at this level of thinking that the composer fashions certain overall structural relationships of a work of music.

Southeast Asia
These traditions may coincide entirely, partially or not at all with geographic, political, linguistic or cultural boundaries. Very few, if any, music scholars would claim that there are any folk music traditions that can be considered specific to a distinct group of people and with characteristics undiluted by contact with the music of other peoples; thus, the folk music traditions described herein overlap in varying degrees with each other.

Country

Elements

Dance

Instrumentation

Other topics

Batak

[24]

gendan ketengketeng gondang

bonang -kendbang keteng-keteng kulcapi - mangkuk trompong

Cambodian

[25]

ayai - kam nap pleing kar

ramvong

tro

Hmong

[26]

gaeng

Iban

[27]

gong

Indonesia

[28]

ketuk tilu kroncong langgam jawa

ronggeng - tapanuli ogong

cello - celumpung flute - guitar - kecrekkempul - kendhang ketuk - kroncong pelog - rebab ronggeng - violin

komedi stambulpelog

Karen

[29]

flute - gong xylophone - zither

Khmer

[30]

jariang - chokantrum - ruemtrosh

ching - krab - tro

Filipino

[31]

kulintang agung rondalla kundiman gangsa - laji gabbang tahta luguh - lelling kalangan saunay

singkil - pangalay bumayah tinikling - janggay - asik - itik-itik binasuan sublian maglalatikbanog salisid kadal tahaw - kadal blelah karatong pagapir - kapa malong malong

kulintang - agung dabakan - kutiyapi sarunai - suling kubing - gangsa guitar- biyula gabbang - kubing hegelung -violin cello - octavina rondalla -kendang gambus

Lao

[32]

lam luang - lam phi fa - lam pun lam tan san - lam tan yao - lam toei - mor khaen - mor lam - mor lam dio - mor lam mu - mor lam pee fah - sarup soeng - tet lae -

ching - khaen - khui phin - ranat - so

wai khru

Lun [33] Bawang

bamboo band

Malaysian

[34]

asi - ronggeng Dikir barat

accordion - joget - zapin

violin - gambus Gendang - kompang rebana - Seruling Serunai - Biola -Rebab - Beduk - Gedombak Geduk - Gendang Jawa - Maruas - Jidur Nahara -Angklung Bonang - cak lempong -Canang Pipa - YangQin Sheng - erhu- Sitar tampura - venna dholo

Orang Ulu Thai

[36]

[35]

kelur - sap bong lang - lam tad - likay - nang taloon - pii klong - pleng choi fon Ngan Wat

Vietnamese

[37]

ca tru - hat - hat fan dance - ma nn (hat dance) - n bu - n y - n chau van - hat ma bi bng (lotus dance) nguyt - n tranh - n cheo - hat noi - lantern dance - flag dance - platter h - n nh - n tam hat tuong - h dance - candle dance - incense n t - n go - n gui thu - nhac t b - n sn - n dance dan toc cai bien tam thp lc - kn nhac tai tu - quan so - tiu - phch [38] snh tin - trng cm ho - roi nuoc trng ci - trng - t rng

Vietnamese and Indonesian Folk Songs

Here are the words of a few old folksongs from Southeast Asia, in both the original language and English . If you would like to download them free (they are home recordings), please play or download them from the choice window below. Part I. Vietnamese songs about the war: (Ca Khuc Da Vang) by the late-Trinh Cong Son: Part II. Two Sulawesi (Indonesian Songs) Song Lyrics--Part I, Viet Nam ""Nguoi Con Gai Viet Nam Da Vang" (Girl with Yellow Skin), by the late-Trinh Cong Son, Viet Nam. Translated by Rich Fuller
Nguoi con gai Viet Nam da vang, Yeu que huong nhu yeu dong lua chin, Nguoi con gai Viet Nam da vang, Yeu que huong nuoc mat lung dong. Nguoi con gai Viet Nam da vang, Yeu que huong nen yeu nguoi yeu kem. Nguoi con gai ngoi mo thanh binh. Yeu que huong nhu da yeu minh. Em chua biet que huong thanh binh. Em chua thay xua kia Viet Nam. Em chua hat ca dao mot lan. Em chi co con tim cam hon. Nguoi con gai mot hom qua lang. Di trong dem, dem vang am tieng sung. Nguoi con gai chot om tim minh. Tren da thom vet mau loang dan. Nguoi con gai Viet Nam da vang, Yeu que huong nhu yeu dong lua chin. Nguoi con gai Viet Nam da vang Yeu que huong nay da khong con. Oi cai chet dau thuong vo tinh! Oi dat nuoc u me ngan nam! Em da den que huong mot minh, Rieng toi van au lo di tim. Nguoi con gai Viet Nam da vang (3 X fading) Girl so young, with skin like gold, Home you love like fields of grain, Girl so young, with skin like gold, On your face fall tears like rain. Girl so young, with skin like gold, Home you love, so do love the weak. Seated there in dreams of peace, Proud of home as of your womanhood. You've never known our land in peace. You've never known olden Viet Nam. You've never sung our village songs. All you have is an angry heart. Passing by the village gate, In the night with guns booming low, Girl so young, you clutch your heart. On soft skin a bleeding wound grows. Girl so young, with skin like gold, Home you love like fields of grain, Girl so young, with skin like gold, You love home which is no more. O! Unfeeling and heartless death. Dark our land a thousand years. Home, my sister, you've come alone. And I, alone, still search for you. Girl so young, with skin like gold (3 times, fading)

"Dai Bac Ru Dem" (Lullaby of the Artillery), by the late-Trinh Cong Son, Viet Nam. Translated by Rich Fuller

Dai bac dem dem doi ve thanh pho. Nguoi phu quet duong dung choi lang nghe. Dai bac qua day danh thuc me day. Dai bac qua day con tho buon tui. Nua dem sang choi hoa chau tren nui. Dai bac dem dem doi ve thanh pho. Nguoi phu quet duong dung choi dung nghe. Tung chuyen bay dem con tho giat minh. Ham tru tan hoang oi da thit vang! Tung dem chom sang la mat que huong. REFRAIN: Hang van tan bom trut xuong dau lang! Hang van tan bom trut xuong ruong dong! Cua nha Viet Nam chay do cuoi thon. Hang van chuyen xe, claymore luu dan, Hang van chuyen xe mang vo thi thanh. Tung vung thit xuong co me co em. Dai bac dem dem doi ve thanh pho. Nguoi phu quet duong dung choi dung nghe. Dai bac dem dem tuong lai rung vang. Dai bac nhu kinh khong mang loi nguyen. Tre tho quen song tung dem nghe ngong. Dai bac dem dem doi ve thanh pho. Nguoi phu quet duong dung choi dung nghe. Dai bac dem dem ru da thit vang. Dai bac nghe quen nhu cau dao buon. Tre con chua lon de thay que huong.

Night after night fall shells t'wards town; A sweeper stops her broom to hear. As shells do fly, a mother wakes, As shells do fly, a child's soft cry. Bright flares burst open above the mountains. Night after night fall shells t'wards town; A sweeper stops her broom to hear. Each round's dark trip, a child in fright. A shelter hit--O! Horrid sight! Each night keeps flashing the face of our land. REFRAIN: O! Tons of bombs fall on the gate. The bombs like rain fall on our fields. A house burns red at the end of the lane. Grenades, claymores the trucks haul down. Such endless stores they bring through town. Our mother's bones lie everywhere. Night after night fall shells t'wards town; A sweeper stops her broom to hear. Night after night, the future quakes, As shells like empty prayers repeat. A child half-living each night waits listening. Night after night fall shells t'wards town; A sweeper stops her broom to hear. Each night, the rounds, they sing for us, Familiar sounds, like sad refrains. What child will ever see home again? (3 times,fading)

"Gia Tai Cua Me" (A Mother's Heritage), by the late-Trinh Cong Son, Viet Nam. Translated by Rich Fuller
Mot ngan nam no le giac Tau, Mot tram nam do ho giac Tay, Hai muoi nam noi chien tung ngay. Gia tai cua me de lai cho con. Gia tai cua me la nuoc Viet buon. Mot ngan nam no le giac Tau, Mot tram nam do ho giac Tay, Hai muoi nam noi chien tung ngay. Gia tai cua me mot rung xuong kho. Gia tai cua me mot nui day mo. Refrain: Day cho con tieng noi that tha. Me mong con cho quen mau da, Con cho quen mau da nuoc Viet xua. Me trong con mau buoc ve nha. A thousand years of Chinese reign. A hundred years of French domain. Twenty years fighting brothers each day, A mother's fate, left for her child, A mother's fate, a land defiled. A thousand years of Chinese reign. A hundred years of French domain. Twenty years fighting brothers each day, A mother's fate, bones left to dry, And graves that fill a mountain high. Refrain: Teach your children to speak their minds. Don't let them forget their kind-Never forget their kind, from old Viet land. Mother wait for your kids to come home,

Me mong con lu con duong xa. Oi lu con cung cha quen han thu. Mot ngan nam no le giac Tau, Mot tram nam do ho giac Tay, Hai muoi nam noi chien tung ngay. Gia tai cua me ruong dong kho khan. Gia tai cua me nha chay tung hang. Mot ngan nam no le giac Tau, Mot tram nam do ho giac Tay, Hai muoi nam noi chien tung ngay. Gia tai cua me mot bon lai cang. Gia tai cua me mot lu boi tinh. (Refrain)

Kids who now so far away roam. Children of one father, be reconciled. A thousand years of Chinese reign. A hundred years of French domain. Twenty years fighting brothers each day. A mother's fate, our fields so dead, And rows of homes in flames so red. A thousand years of Chinese reign. A hundred years of French domain. Twenty years fighting brothers each day. A mother's fate, her kids' misdeeds, Her kids filled with disloyalty. (Refrain)

Song Lyrics--Part II, Indonesia "Dermaga" (The Harbor), a North Sulawesi Love Song. Translated by Rich Fukller with the help of Ken and Ikhe
Sekarang cuma mata deng hati yang bicara Sadiki leh somo bapisa. Lia jo pa kita, inga-inga di mimpi. Seka air mata di pipi. Lenso warna putih basah deng air mata. Kapal so tiop tiga kali. Kapal so lapas tali, Nakoda putar kamudi. Selamat tinggal ke kasih! Kapal bajalan, ngana masih di dermaga. Lambaikan tangan, kong baseka air mata; Di atas kapal kita cuma babadiam. Martapehati cuma inga pa ngana. Suatu hari nanti kita pasti bale For torang dua pebaku sayang. (nyanyi 2 kali) Speaking together with just our eyes and hearts, Moments before our parting. Look at me and remember me in your dreams. Wipe away the tears from your cheeks. Your white perfumed hanky, all soaking wet with tears; Now the final whistle's blown already. The ropes have been withdrawn, The ship is heading to sea, So, good-bye, my own true love! The ship is sailing, yet you're still here in the harbor, So wave your hand, and wipe away your tears. Oh, on this ship, how I will be so lonely. But in my heart, I will always think of you. And one day soon, I promise to return To you for our everlasting love. (2 times)

"Hulondalo Lipu'u" (Gorontalo, My Homeland), a Gorontalo, Sulawesi, song in the Gorontalo Dialect. Translated by Rich Fuller, with the help of STKP, Gorontalo
1. Hulondalo lipu'u Pilotu tuwa ola'u. Dilata oli pata'u. Detunggulo mate wa'u. 2. Lipu'u Hulondalo. Tetowa'u bilandalo. 1. Gorontalo, my country, That is where I was born. I will always love you Until I leave this life. 2. My country, Gorontalo, That is where I grew up.

Wa'u malo mololo, Mo otola Hulondalo. REFRAIN:. Tilong Kabila hui dio, Bune dutula lio, Limutu bulalo lio, Amani tao lio-3. Hulondalo mato la'u Lipu ilo toli angu'u. Wa'u malo mololo. Mo oto la Hulondalo

I will always miss you, If I leave you, Gorontalo. REFRAIN: Your Tilong Kabila Mountain, Your Bone River, Your Lake Limboto, Your gentle, gentle people-3. Gorontalo, I must leave you. But I'll never forget you. I will always miss you When I leave you, Gorontalo.

ELEMENTS OF ARTS

Texture
The texture is the quality of a surface or the way any work of art is represented. Lines and shading can be used to create different textures as well. For example, if one is portraying certain fabrics, one needs to give the feeling of the right texture so that it closely resembles what the artist is trying to convey. It can be implied or real. [edit]Form Form may be created by the forming of two or more shapes or as three-dimensional shape (cube, pyramid, sphere, cylinder, etc.). It may be enhanced by tone, texture and color. Form is considered threedimensional showing height, width and depth. Examples of these are sculpture, theatre play and figurines. [edit]Space Space is the area provided for a particular purpose. Space includes the background, foreground and middle ground. Space refers to the distances or areas around, between or within components of a piece. There are two types of space: positive and negative space. Positive space refers to the space of a shape representing the subject matter. Negative space refers to the space around and between the subject matter. Space is also defined as the distance between identifiable points or planes in a work of art. [edit]Shape Shape pertains to the use of areas in two dimensional space that can be defined by edges, setting one flat specific space apart from another. Shapes can be geometric (e.g.: square, circle, triangle, hexagon, etc.) or organic (such as the shape of a puddle, blob, leaf, boomerang, etc.) Shapes are defined by other elements of art: Space, Line, Texture, Value, Color, Form.

[edit]Color Color pertains to the use of hue in artwork and design. Defined as primary colors (red, yellow, blue) which cannot be mixed in pigmentfrom other hues, secondary colors (green, orange, violet) which are directly mixed from combinations of primary colors. Further combinations of primary and secondary colors create tertiary (and more) hues. Tint and Shade are references to adding variations inValue; other tertiary colors are derived by mixing either a primary or secondary color with a neutral color. e.g. Red + White = Pink. [edit]Tone

(Value)

Value, or tone, refers to the use of light and dark, shade and highlight, in an artwork. Some people also refer the lightness and darkness in an artwork as tints(light) and shades(dark). Black-and-white photography depends entirely on value to define its subjects. Value is directly related to contrast. [edit]Line Line is defined as a mark that spans a distance between two points (or the path of a moving point), taking any form along the way. As an art element, line pertains to the use of various marks, outlines and implied lines in artwork and design, most often used to define shape in two-dimensional work. Implied line is the path that the viewer's eye takes as it follows shapes, colors, and form along a path, but may not be continuous or physically connected, such as the line created by a dancer's arms, torso, and legs when performing an arabesque.

Textile design
From Wikipedia, the free encyclopedia
Point paper for Dove and Rosewoven double cloth by William Morris, 1879.

Textile design is the process of creating designs and structures for knitted, woven, non-wovenor embellishments of fabrics. Textile designing involves producing patterns for cloth used in clothing, household textiles (such as towels) and decorative textiles such as carpets. The field encompasses the actual pattern making as well as supervising part or all of the production process.[1] In other words, textile design is a process from the raw material into finished product. Fiber, yarn and finishes are the key elements to be considered during the textile design procedure.

Batik is a method of dyeing fabrics by hand, using wax to cover parts of a pattern, dyeing the exposed fabric and then dissolving the wax with boiling water or a hot iron. The waxed area retains its initial color, and when the wax is eliminated, the variation between the dyed and undyed areas makes the design.

Human Sexuality God created human beings with many dimensions, one of which is their unique sexual nature. As men and wom are physical, intellectual, emotional, relational, and spiritual beings, and thus distinguished from the rest of creat Many levels of sexual expression are possible between men and women.

One important expression of sexuality is friendship; the sexual differences between men and women enhance meaningful, warm, and healthy relationships. A second important area of sexual expression is intimacy between husband and wife. God has designed the most intimate expressions of sexuality, including intercourse, specifica the marriage relationship. The Bible describes the covenantal relationship of love which God has for His people husband-wife relationship is analogous. Since God holds the marriage relationship close to His heart, its violatio serious offense to Him.

Our integrated nature means that intimate sexual expression profoundly affects all dimensions of our being. Wh sexual expression outside of God's design may provide temporary pleasure, God's guidelines are meant to protec from disease, fear, exploitation, and ultimately dehumanization.

CMDA affirms the biblical principles stated above. These principles are clarified further by the following statem 1. Sexual intercourse is to be reserved exclusively for heterosexual marriage. 2. Single men and women who engage in sexual intercourse are outside of God's limits and are practicing sin.

3. Married people who have intercourse with anyone other than their marriage partner are defiling a marriage un which God has sealed and are in sin.

4. Like single heterosexuals who engage in heterosexual sex, or married persons who engage in extra-marital se homosexuals who engage in homosexual acts are practicing sin.

5. We condemn the perversion of sexuality in pornography, rape, incest, and all other forms of sexuality that dev from the biblical norm for Christian marriage.

6. Family life teaching and sexual education are God-given responsibilities of parents. The Church's task is to as both parents and youth in understanding their sexuality in the context of biblical values. When appropriate, sexu education should include risk behavior information and instruction on protective techniques to inhibit the spread AIDS and all other sexually transmitted diseases.

7. Education and protective techniques alone, however, will not stop the spread of AIDS. Our society needs to understand and acknowledge that there are compelling emotional, philosophical, medical, sociological, and histo reasons for practicing abstinence before marriage and fidelity within marriage.*

CMDA calls our world to affirm these biblical sexual morals. We recognize and acknowledge that many person struggle with sexual temptation and sin, and that all of us have fallen short of God's standards. We testify that G just, merciful, loving, and faithful, and that He will, if we ask Him, forgive us of our sins and bring us into an in relationship with Him.