Global Culture midterm
Define and describe the Gamelan Orchestra. Include musical instruments, tuning, form, rhythm etc. How does this information help us to better understand and appreciate the music and its connection to the music culture?
Gongs originally used to communicate with God Tuning: 2 different scales (slendro = octave divided into 5 roughly equidistant tones, pelog = octave divided into 7 roughly equidistant tones) want vibration that comes when frequency of pitch is slightly different - 5-8 bpm layers of sound moving semi-independently at different speeds elaboration - interlocking parts kotekan = 2 parts that sound like 1 to the ear cyclical structure stratified polyphony higher part: inhaler lower part: exhaler most instruments come in pairs drummer sets tempo and signals change Instruments: several varieties of gongs metallophones (tuned metal instruments/plates) drum voice/bamboo flute/bowed string instrument (sustained melody) Javanese uses singers more Balinese only consist of percussion instruments
What does david Bryne think of the term "world music"?
He said he hates the term "world music" because it is such a catch-all and even offensive to the types of music included in it. It's like a culture is being told their music isn't good enough to warrant their own genre.
Has hip-hop become the music of a global youth culture? How has this music been modified in global settings? Revisit the article on global hip-hop. Be prepared to connect your ideas to those introduced by Tony Mitchell concerning the changing face of hip-hop and its role as a sonic marker of youth identity around the world.
Hip-hop has become the music of the global youth culture. By youth, of course, we mean the youngest generation, currently the Millenials. But this music has spread all through the world and has created a "glocal" genre. It unites people in their fight to be heard through every country, whether they are experiencing war, discrimination, poverty, etc. Hip-hop now a days is still like that, though some popular hip-hop has lost its "rebel cause". Much of the hip-hop music in the United States now addresses the racial issues and disputes that have boiled over. Hip-hop is about people and who they are and where they live. It is about their community and its problems. It does identify with the youth more so seeing as the youth are too young to make any political change.
Are these definitions of world music changing in the 21st century? Why or why not?
I think with the rise of the internet it's becoming easier to expose yourself to more music and get a better representation of what other cultures are actually like. However, it does take individual responsibility to sift through research and determine biases and such.
How does the article, "The Invention of African Rhythm" challenge our preconceptions of World Music? According to the author, how has an emphasis on African rhythm shaped and distorted our understanding of African music?
"African Music" does NOT equal "African Rhythm"... there is no one rhythm that is Africa, and to assume so implies unanimity of African music
Define the term "musiking" and discuss how this approach to music making and consumption alters the way you interact with and perform music
"music is not primarily a thing or a collection of things, but an activity in which we engage" performance, composition, dancing, listening the complete musical performance
Our ideas of global musical traditions and the cultures that make them are heavily influenced by the media, the tourism industry, and academia. Using examples addressed in the readings and/or in class, discuss perceptions of global music cultures and the role of the above-mentioned institutions in the formation of our current understanding of musical traditions and the cultures that make and consume them.
-Academia: folk collectors search for music that hasn't been represented or has been lost, but it's up to them to decide if something's worthy of redemption, meaning that we could be missing out on a butt ton of stuff that either don't fit into the categories they're searching for or that isn't interesting enough
Discuss the exotica genre that emerged as one of the earliest examples of recorded and mass disseminated "world music." How were musicians represented? Why was this music so popular? Are our current perceptions of world music shaped by this genre? Can you think of current artists that continue to reinforce exotic images and sounds as a way of marketing themselves?
-Exotica was introduced in a period where everyone started traveling, but with Exotica, they could experience the "cultures" of many different places without actually inconveniencing themselves with a travel experience. Musicians were hypersexualized and cultures were exploited. Performers were deemed foreign and exotic, which set the stage for stereotypes against non-Western cultures. The media definitely carves out preconceptions for world music, and gives us a sense of superiority over the foreign, exotic, unfamiliar people who perform "world" music. For example, Iggy Azalea glorifies the struggles of black people from the south, and since she's white, she receives attention and praise for her mimicking of black culture
Be familiar with the four components of a music culture and discuss how these components may lead to a better and more accurate understanding of all musical genres, pieces, and cultures. Be familiar with the examples discussed in class, and give some thought to other examples that might be present in your own musical life. I hope that by now, you have seen the problem with generalizations about music and musical cultures. Speculate on generalizations about your musical tradition and how these components may provide outsiders with a better understanding of the music you listen to and/or play?
-Ideas about music -Social organization of music -gender, age, race, identity -How do we use music? -Repertoires of music -style -genres=named standard units -text (lyrics) -composition (How does music enter the culture?) -transmission (How is music passed on?) -movement (physical activity) -Material culture of music
Revisit the article on American Soldier's iPod. How does this case study reinforce our discussion of music and private spaces? If music can reflect and shape personal identities and behaviors, is it possible that music can also be appropriated as a form of propaganda or adopted as a means of torture?
-Individual and Group Identity -Collective SOlidarity -Music as a Motivator -Escapism -Music as a coping mechanism -Christopher Small offers the term "musicking" to emphasize that "music is not primarily a thing or a collection of things, but an activity in which we engage." -article is about "musicking" and specifically how members of the military listen to music and what they use it for (especially while deployed in Iraq) -new technological developments make listening to music daily easy for soldiers -music helps soldiers find their identity as a collective -many events where music is present -stresses of war and deployment offer scary situations that may lead to soldiers needing outlet; examining music they listen to will shed light on the matter -draw from interviews with 11 individuals -soundscapes of soldiers: heavy metal, hardcore rap (but much more diverse if you look more) -listener's tastes are more diverse because of wide variety of options and differing personalities -music taste sometimes reflected emotional/social needs, or listened to what ppl gave them from back home to stay connected -listened to music to motivate/pump up people before a mission or patrol -makes people feel powerful supposedly, and that's in a sense what powerless soldiers need to feel confident -sometimes people listen to aggressive music just for the association with violence; one person listened to back in black as he pulled trigger, and never listens to that kind of music that reminded him of death or similar themes -male soldiers got crap for listening to music that was not as hardcore -some living quarters while deployed have many activities, but other smaller ones do not, leading to music-listening in a group -people of different rank/living areas share music and listen to same things because of who they socialize with -cultural identifiers caused friendships and led to living quarters with certain races specifically -music can evoke good responses, but also bad when associated with difficult memories
Ways to Listen: Be prepared to discuss the importance of an in-depth approach to listening. You should also be prepared to demonstrate this approach on the exam.
-pitch, rhythm, melody, timbre, dynamics, texture -ask why? is there a story? reason for key chosen? what does the instrumentation represent? -how do elements of the music compare to ideas and history/personality of composer? how do the elements compare to other music of that period? place the music in social context -don't just understand what music is, but why it is (Strange fruit)
Soundscapes: Define this term and discuss its relationship to the people that make music and the places where music is made.
-sound, setting, and significance -first impressions of the music, then analysis -participants--gender, number of participants, roles, interaction -physical layout of the setting -context/history of event/placement in society
While Tuvan music is initially described by many Western listeners as odd and/or fascinating, a closer look at the genre sheds light on the significance of the music to the music culture. Discuss the setting and significance of this genre. Does this knowledge alter the way you listen to and understand the music? How does this approach to musical analysis alter the way you listen to and perform "classical" music?
Khoomii provides an example of a tradition with multiple meanings for performers and listeners alike. For many Tuvan musicians in particular, khoomii embodies and conveys a deep attachment to their homeland. By imitating or depicting the sounds of nature, khoomii singers reinforce their link to the physical environment of Tuva. This attachment is anchored in part by traditional Tuvan spiritual practices, in which music was used to communicate with spirits believed to inhabit local places ranging from mountaintops to flowing streams. In addition to the belief that khoomii is closely linked to the natural environment, some Tuvans trace the origins of khoomii to lullabies.9 Khoomii may therefore signify deep-seated associations with a homeland as well as ties to home and family. Sound was also used by Tuvan herders to calm their livestock and to communicate with each other across short distances.10 Inspired by the wind on the Tuvan steppes and the rushing water of the streams and rivers where they watered their cattle and horses, Tuvans transformed the natural sounds of wind, water, and animals into musical representations. Some styles of khoomii mimic the sound of bubbling brooks and blowing winds. The physical appearance of the Tuvan landscape also influenced musical sound, especially the rugged vistas of the mountains in the southwest of the country and the undulating expanses of the steppes. Tuvan herders shape the melodies of "steppe" and "mountain" khoomii to reflect these distinctive features of the topography; the steppe khoomii have long flowing lines replicating the undulating contours of the land.11 Tuvans map the physical landscape in their song texts as well. Thus Tuvan music, unlike 19 much of Western instrumental music, is not considered by its musicians to be abstract, but to be "radically representational."
. Music and tourism: What is the attraction to musical sites? How do cities meet the touristic desire for authentic music, culture, and opportunities for interaction? Hawaii, Bali, and the American Delta are great examples. Be prepared to discuss this issue in relation to these or other cultural areas. How does the concept of hyper reality explain our desire for other places and sounds?
Music Tourism: -Connection between landscape and soundscape -Music reinforces the tourist site and culture -The site authenticates the music -Hyper Reality: images, sites, attractions that are recreated in the image of fabricated history; different than fiction; presented as real, undermines any contrast to the real (example: disney, las vegas) -offer unique experiences unobtainable in everyday life -experience rooted in heritage, often tried to be improved Places of Creativity, cities/sites associated with famous recordings, homes of stars, historical and current music screnes Places of Production: studios and stations promoted as authentic locations where music was made Places of Tribute: theme parks (dolly world) Places of Performance- historical significance, opera houses, concert venues
Case studies from readings: Be prepared to relate these case studies to the issues and case studies discussed in class. (Music in Everyday Life) The Quinceanera Mariachi Bagpipe Music
Music gains meaning through association. In the context of bagpipe music, it's performed at occasions related to death and commemoration, occasions of entertainment and dance, and competition and concerts.
In class, we discussed several global collaborative projects. Discuss how these projects reflect a shifting soundscape and the possible problems that arise with collaborative performance and recordings.
New technologies in the 21st century have increased ease in collaborative musical projects around the globe, through accessible, cheap jet travel, virtual collaboration, and social media. This has led to revolutionary ways of creating and performing music, exemplified by Eric Whitacre's virtual choir. While the choir is a fascinating example of global collaboration and music diplomacy, it also raises questions of the authenticity of the music and the performance. If collaborators are not directly talking to each other and communicating while performing, is it still as meaningful?
Describe the mbira? How does this instrument function within and reflect the Shona culture of Zimbabwe? Discuss the spiritual embodiment of the instrument.
The Shona mbira has 22-28 keys, a sound board, a deze (a resonator) and jingles on the strings for added shimmering effects. The mbira dzavadzimu is very important to the spirituality of Zimbabwe. The keys represent an ancestral spirit, the sound board represents sources of food and shelter, and the resonator represents food and water.
Describe the Shona Bira ceremony and the role of music in this ritual. Be prepared to discuss Paul Berliner's account of the Bira ceremony.
The ceremony itself is a formal religious event during which family members call upon common ancestors. The Shona culture revolves heavily around the religious belief that: After people die, spirits continue to look after the lives of their descendants One's fortune and fate are results of external forces out of one's control If departed ancestors are forgotten/dishonored, they may withdraw support, which may lead to vulnerability to mischievous/belligerent spirits and/or misfortune such as illness, in which case a consultation with a nganga (doctor) is required - most doctors advise arrangements of a bira or mabira, which means "domain of a spirit medium." The ceremony begins with an air of casualness that gradually transforms into something more as performances such as dancing, singing, and clapping begin As the music builds in intensity, the air of casualness dissipates and becomes more serious Once the appointed spirit medium is ready, all music is called to a stop The music being played during the ceremony is considered the sum total of all village member contribution. The mbira players themselves select the music to be played, the participants influence the musical proceedings, and the possession of the medium has a great impact on the intensity and vigor of the music. Three forms of musical expression: singing hand clapping dancing The mbira ensemble consists of: two or three mbira players one hosho (gourd rattle) player one or more singers (three main vocal styles) mahon'era: humming style huro: yodelling style kudeketera: poetic verbal style The poetic themes range from humor and social commentary to proverbs and historical references. Due to the deep cultural association of the mbira with ancestral spirits, the lines sung during the ceremonies are mostly melancholy in nature - "You may think that I am enjoying myself while singing here, but inside, my heart is filled with pain for those buried below the ground." ululation (kupururudza): fourth vocal style that is usually sung by women as encouragement and approval for all the performers; adds another elements of excitement to the music The mbira is a sacred instrument: "...not just an instrument to us...It is like a bible...It is the way in which we pray to God." thought to have power to project its sound into the heavens, bridging the world of the living and the world of the spirits The villagers are placed in a meditative state The music consists of four phrases of twelve beats each played in a continuous cycle
Several case studies suggest that music is a universal language and that collaborative music making can bring world peace? Based on class lectures and the readings, reflect on this topic. Can you connect this to current collaborative recordings or performances?
The idea of music as a universal language cannot be assumed to be universally true. Those used only to Western music are not used to the differing styles of many African and Asian musical traditions, and most would not immediately be able to understand what they are communicating. The idea of the global village only acts to generalize the world instead of embracing its diversity. Its okay that western ears are not immediately able to understand the meaning of Balinese Gamelan, because they are inherently and rightfully different than us, and we must take the time to learn and experience their culture before coming to a conclusion about what they are attempting to communicate.
How and why did Thomas Mapfumo and Tinashe incorporate mbira music into an Afro Pop style?
Thomas Mapfumo - electric mbira music, experimented with traditional sounds, was the "soundtrack to the revolution", used Shona lyrics instead of English lyrics (english is the national language)
Define Tuvan throat singing and discuss the basic musical elements of this unique musical tradition. In other words, what are we hearing? Define the three basic styles of Tuvan throat singing. How do Tuvan musicians define these styles? Do these definitions help us to develop a more in-depth understanding of the music and the music culture?
Tuvan throat singing, or khoomii, is a unique way of using vocal chords like stringed instruments, which gives the singer the ability to sing overtones above a fundamental pitch. There are three main types of khoomii: Kargyraa ("car-gee-RAH") has a fundamental sung in a low register with a husky vocal quality; sometimes kargyraa can have a text. Kargyraa is an onomatopoeic word for wheezing or speaking in a hoarse or husky voice. Sygyt ("SUH-gut"), which has a higher-pitched fundamental than kargyraa and produces clear harmonics that sound like whistling. personal khoomii styles, "nose" and "chest" khoomii, which are subsequently known by the singer's name and vary according to the pitch of the fundamental, the loudness or softness of the sound, the position of the mouth, and the emphasis on 14specific harmonics. The manner in which a singer produces the sound, anchored in his nose or chest
Take a look at the questions for mapping urban and personal soundscapes. Be prepared to discuss this in a short answer or essay.
Urban music: complex social and sonic environments, multiple styles and musical cultures cross fertilization
Based on the readings and class discussion, define ethnomusicology and discuss its importance as a discipline. What do ethnomusicologists do? How does this discipline differ from other types of music research? What methodologies are used? What is the Credo as outlined by Bruno Nettl? Lastly, how is the discipline changing?
a. Ethnomusicology is a field of study that joins the concerns and methods of anthropology with the study of music. It is the study of music in a cultural context and approaches it as a social process to understand WHAT and WHY music is. b. Ethnomusicologists study the effect of music on culture and vice versa. They do armchair and field work, which consists of living and interacting with the culture, face to face interaction, observation, participation and analysis. c. The Credo by Bruno Nettl i. Study of music ii. Comparative and realistic approach iii. Importance of fieldwork iv. All musical manifestations of society are worthy of study This discipline is changing because the "natives" that some study are no longer naïve nor passive recipients of technology. They may be well versed in Western music and technology, therefore defeating many theories before they are even "tested". -the study of music in and as a culture, *All musical manifestations of society are worthy of study
In class, we discussed a new global youth culture. Speculate on this topic. Do you feel that your generation is more aware of global music traditions? Have advancements in technology resulted in new availability and an awareness of musical styles? Do you feel that national identity is being replaced by a global identity? Why or why not?
a. I do not know if our generation is necessarily more aware of global music traditions, but they can be if they want to. Technology allows us easier access to observing and learning about traditions that aren't Westernized. b. Global identity is not replacing national identity. Every nation has their own culture(s) and traditions, and many of them hold strongly to that. I believe global culture is a separate entity that fuses national identities and creates a whole new culture of tolerance.
Reasons for fieldwork: Discuss your experiences with the in-class exercises on observation, interview, and self-analysis. What is ethnocentrism and how can this be avoided in musical research?
a. The in-class fieldwork video was pretty pitiful. The scientist did not use any proper technique in conducting his research. The head tribesman of the people had in fact been exposed to Western music, so his answers should not count. Also, out of only three faces to choose from, it is not very hard to guess about what one is hearing. b. Ethnocentrism is the judging of another culture by the values and standards of ones own culture. To avoid this in musical research is to not consider Western music universal. Western music is not universal. Not a lot of music is. So by avoiding Western music altogether, ethnocentrism can be avoided. Also, considering one culture "primitive" or "savage" or "exotic" because they do not use Western techniques or have never listened or heard of Western music is a prime example of ethnocentrism as shown in the field work video.
what music should be included in "world music"
all music should be included this genre - the title is literally "world" music which is everything.
what music should be left out of "world music"
personally i don't think any music should be left out of the "world music" label because every type of music is valuable.
who has traditionally decided what world music is?
traditionally westerners (particularly western music producers) have determined any music that isn't western music is "world music". This can include anything from caribbean steel band music, african music, indonesian gamelan, etc