Week 8

In African society one of the defining characteristics of dance and music are their interconnectedness, dance and music are thought as one, and not as two seperate identities. These qualities reflect on the nature of this music, which is generally composed of interlocking parts at the same time, with a buzzy timbre sound. These aesthetics qualities focus on the unity of the music which reflects on the mesh between dance and music as a whole.
In this same way it seems that the aesthetic and core qualities of a kind of music are based on what that music is trying to project. One music genre that comes to my mind is gospel music. In gospel music the ultimate point is to sing the glories of God. Often the melody is sung with one person with a group of singers supporting in the background, or a group of people singing the same melody. This creates unity, and allows one to focus on the message of the music rather than the performance of the music. Even if one person is singing, the way it is sung clearly gives focus to something beyond, rather than focusing on the singer. Also the audience at times sings along and moves along with the music. The music is very inspiring, and upbeat, and is designed to lose yourself to God. This makes sense as the very aesthetic qualities of the music reflects and achieves the purpose, identity of the music, which in this case is fostering a sense of community in the spirit of giving reverence to God.

Week 6

In the movie Latcho Drom, we saw how the gypsies incorporated music from the cultures they encountered into their own culture. In the first scene the instruments and music style seems to be similar to Indian Hindustani music; the expression and sound of the dance and music resembled to some degree the music we heard from the Bengali musician master Babukishan. The instruments being used were something similar to a dhol (drum), a pot, which was also used as a drum, small hand cymbals, a sitar, and voice. The second scene of the dancing between the Egyptian couple showed Islamic and Middle East musical influence. Here there is a drum, clapping, and a musical instrument called the rebab. Even though some of the instruments and dancing were similar to the first scene, the musical celebration was Middle Eastern. The last scene shows the music of a takht ensemble in a teahouse in Turkey. Here the instruments present were those found in typical takht ensemble; the ud, qanun, nay, riqq, and a violin. One thing that was common to all these musical pieces was the vibrance of the music. The vibrance and euphoria of the music captured in the celebration under the full moon, was the same transferred to other musical contexts in the other two performances. I think the thing that I liked the most was this point, of how even though the actual music and instruments changed depending on where the gypsies went, the love and integrity of the music was constant and unchanging. I think the director wanted to make this point, by showing how gypsies incorporated different music and culture into their lives, that all music are ultimately based on other music, and at its core, music is simply awe-inspiring. This can be seen from what we have studied so far, as while there are differences in the music of different culture, there are tremendous similarities and adaptations.

Week 5

In today’s world, media plays a big part in shaping society. With tv, theater, and the internet playing a bigger and bigger part of everyday life, things that have played out in the media are being duplicated in real life. One example of this can be seen in how the culture of rap music is influencing the American and world landscape. It seems rap music began as a way for the African American population to unify, be able to take pride in their culture, and show to the world the problems they face (poverty, racism, inequality) and how they overcome them. This culture was a stark contrast to what was acceptable in mainstream American culture at the time. As time passed on it seems that the music became more recognized, and elements of drug use, violence, sex, and profanities became more gratuitious. Now it seems rap music atleast popular rap, focuses simply on sex, drugs, violence, and money. These ideas are now popular in American society, and their influences are seen in every facet of American life. This is similar to the Kabuki theater example, as Kabuki theater initially gained popularity as it portrayed life that was different then the standard at the time. However as more people started watching Kabuki theater, they pressed for pushing the envelope(more sex, violence, and so on) and once it gained enough popularity, these new concepts gained acceptance and integration in normal Japanese life.

Bhangra

http://www.youtube.com/watch?v=yTOAbhvMIFY

http://www.youtube.com/watch?v=n1JDKyW_eag

Week 4

The author says the music is not as ancient as marketed due to the fact the music is changing and does not date back to the culture. The music was originally borrowed from Han culture in the 15th century and then tailored to fit Lijiang Naxi culture. It became integrated and the informal aspects of it were popular before 1949, when it was disbanded by incoming the Communist party. However when music was encouraged again in the 1980s, a new and present form of the music was made, which was ritualized based, and labeled as traditional to feed the growing interest of tourists in the region. Therefore the present style is not the same music heard by the Lijiang people even 60 years.
Western Scholars accused the Chinese Opera of not being authentic enough, because the instruments are modern, factory built, and the music incorporates Western sounds and influences. By doing this the Opera was not playing something solely from the past, but was mixing it with influences of the present (Western). Before reading this article I would have sided with the western scholars, as it would seem that if something was authentic Chinese it should be only comprised of Chinese sound. However after reading the responses from Chinese musicians, I now agree that the music is indeed authentic as it is product of present day China (the music includes Western influences, because that is now present in Chinese culture). I think the scholars may assert that the music is not the same as what was present in China in the past,
but I think that it is authentic to what Chinese label as authentic. This can be seen as even in the past there was borrowing of music from other cultures and then made to be one's own (example of Lijang Naxi music).

Week 3

It seems that even though both are Gamelan pieces, the performances are very different. In the "Ratna Ayu" the piece is composed of both dancers and musicians. Here the focus of the attention is on the dancers and the story they are trying to portray, and so the music complements the dancers. Music serving to complement the dance can be seen in all aspects of the dance. These include, the musicians wearing similar but less elaborate traditional costumes like the dancers, and also allowing the dancers to take center stage while the musicians are out to the sides, in the background. Also the music takes it cue from the dancing. The dancing is largely synchronous and so the music for the most part keeps on playing the same melody and keeps with the synchronity. Also the dance is slow, and the music sets that tone by being delicate, even, and slow paced.

In the Bali Nyepi, it is just composed of music, and so music is the central part of the performance. The dress is less elaborate and the focus is on the music. Here there is interplay between the different instruments, and the music is more fast paced throughout the piece. There also seems to be changes in the rhythm.

Week 2

As I was reading the author’s thoughts and the responses of my fellow classmates, I think I can empathize a lot with those views. Growing up as a first generation to Indian parents, I experienced being an insider/outsider in both American and Indian culture. While I was born and raised here, I wasn’t an insider to traditional American culture, as my parents infused in me traditional Indian heritage. However at the same time as I went to school and grew older I adapted to and favored more of the American culture. Now as an adult I can see I am a byproduct of both these cultures, and that I can not be purely an insider or outsider of either of these cultures. For example when I go to India, my relatives and others treat me differently than my parents or natives of India. While this is due to their perceived difference of me because of my upbringing here in America, I think it is also caused by me as my viewpoints and understandings and comfort levels are obviously going to be different then theirs. In this way I can not be considered as a pure insider or outsider. Music is a prime example of this outsider/insider relationship. Music, classical and traditional for the older generation, and dance orientated for the newer generation, is an important part of Indian tradition. While the musical pieces sound pleasant to the ear, a lot of it is based on meanings in the context of life it is used for. So for me, I feel like I am both an insider in the sense that I am familiar with the music, but an outsider in the sense that I did not fully experience or can understand the context the musical pieces were designed for.

One example of music being just part of an event are the spiritual Indian festivals I go to. Here spirituality andreligion are the focal points, and the music seems to highlight those themes. The music sets the tone, and allows everyone to be more in tune with themselves spiritually.