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.

Week 1

Growing up I wasn’t too involved with music. I played the clarinet for a few years in elementary and middle school, but I gave it up as I didn’t have too much interest in it at that time. As I got into college, I became introduced to many people from various ethnic backgrounds and that’s when I started getting interested in music. I also at this time rediscovered traditional Indian music from my heritage, and I wanted to learn more about that too. Just in general, I'm not much of a performer, but I enjoy music from different cultures, mostly traditional and classical, and I hope to enrich my music experience by taking this class.