...What is Music? Sound vibration with specific meaning Conceptual phenomenon based on society Ethnomusicologists try to understand societies through music. By understanding music, there is an understanding of people, the community or the society. Vocal, instrumental, dance. In some cultures, all these characteristics are combined where generally, vocal, dance and theater are separate. i.e: Flamingo Culturally specific activity Labels emblematic of the activities (contextualized in time and space) Folk, traditional, popular, art World Music? Peter Gabriel/ Paul Simon. Collaborating with artists outside of popular music. In the 80s, World Music was known as the collaboration with others. Zulu girls perform wedding song/dance. (Central Africa) (1) Paul Nabor from Belize. Transformation of this music which began to be a project of international world music. Village House Production, Punta Gorda Town, Belize Central America. Guitar, percussion and voice. (2) Andy Palacio – Watina. Producer transformed Paul Nabor’s base into Watina. The first album that put (Garifuna community in Belize) Garifuna music/this kind of music on an international scene. Was a popular album of world music. Andy Palacio – Dunya 2007 Festival Rotterdam (Joined by Paul Nabor) Paul Nabor sings in the Modal system whereas the instruments are in the tonal system. Completely different systems combined together. (3) Aurelio Martinez – The Laru Beya Sessions. In Senegal to commence a new collaboration...
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...Ethnomusicology Tinariwen was founded in 1979 in Tamanrasset, Algeria but, returned to Mali in the 19990’. The band started to gain popularity with the release of their album “The radio Tisdas Sessions” and performances at festivals around Mali. Internationally, their following grew with their third album “Aman Iman” in 2007. This album had everyone labeling them as musical rebels. While growing up, founder, Ibraham Aghabib witnessed his father executed in front of him. Ibraham also played the guitar out of a tin can, a stick, and bicycle brake wire. Ibraham lived in a refugee camps in Algeria near Bordj Badji Mokhtar in the desert around the southern city of Tamanrasset, where he got his first acoustic guitar from a local arab man. As he got older and started to travel he started meeting other musicians that, like him, enjoyed exploring radical protest music or moroccan groups, western pop, and western rock and roll. While the group was in its early stages of development, even though they did not have a name people from all over stater referring to them as “Kel Tinariwen” which is the Tamashek language translated as “The People of The Deserts” or “ The Desert Boys.” Even though they drew inspiration from alot of west european bands, their sound is alittle more Grass root, and has more of traditional sound. Their sound comes from West African music the “Great Bend” region along the nile river. The use of their old traditions have solidified their longevity through music...
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...Five Musicological Fields: The study of music also known as musicology encompasses five distinct fields. These include the study of historical musicology, ethnomusicology, philosophy of music, psychology of music and acoustics (Nation-master, 2013). The first major field, historical musicology, is the study of musical origins including subjects such as composers, genres and musical notation. Ethnomusicology is the second major field of musicology and is based around the field studies on music in diverse cultures. Thirdly, the philosophy of music is concerned with the central question of ‘what is music’. Another major field is Psychology of music which relates to the effect music has on human beings. The last musicological field of acoustics is the study of the science of sound (Nation-master, 2013). These five fields make up the fundamentals of musicology and will be explored within this report. Historical musicology focuses on the progression of music over time. This field studies the progressive styles of compositions, performances, receptions and criticisms of music (Nation-master, 2013). The methods of studying historical musicology also include source studies, manuscript studies, textual criticism, style criticism, the choice of historical method, musical analysis, and the application of musical analysis (Nation-master, 2013). This field of study also examines the lives and work of composers and performers (Queensland Studies Authority 2008). Influences and impacts on...
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...differently from a musicologist? An ethnomusicologist may get in close to the artists and not only listen and record their music (such as a musicologist), but will also study and participate in their culture as well. 4. What is “fieldwork”? What is its importance to the study of world music? Fieldwork is the practice of going out and listening and recording music directly from the source, the culture that is being studied. This is important in that it adds direct and pure sources and examples of the music being studied which can then be compared to and studied along with music of other cultures. 5. In what ways does world music study require an interdisciplinary approach? This is because not only is the music itself being studied (ethnomusicology), but the culture is being studied (anthropology) as well. 6. What is ethnocentrism? Have you ever experienced it? Ethnocentrism is the belief or assumption that someone’s own cultural ways and practices are normal while those of other cultures are considered strange or...
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...Addison Kogami Professor Frederick Lau Music 407 23 June 2014 Hip-Hop Music This research paper will be discussing the origins and development of hip-hop music, some of the characteristics that define hip-hop as a musical genre, and the social significance of hip-hop from its creation up until current day. The purpose of this paper is to inform and enhance the understanding of hip-hop music, drawing connections between musical stylistic origins and social influence throughout history on hip-hop music to create an unbiased, accurate account of how hip-hop music came to be what it is today. The genre of hip-hop music formed in the 1970s amongst African American Groups in urban New York City, during a time when “block parties” and it’s associated music started to become extremely popular. Credited with founding hip-hop music, DJ Kool Herc, an immigrant from Jamaica, started to extend the percussive breaks in popular funk and soul music (Dyson). This new sound became so popular that DJs needed to start using two turntables to lengthen percussive breaks, effectively creating an entire new sound and new genre of music (Bekman). Hip-hop music is characterized by four main elements: rapping, scratching (DJing), break dancing, and graffiti (Chang). Because music is dynamic and constantly changing, hip-hop started to develop sub-genres within hip-hop, such as southern trap music or west coast gangsta rap. Hip-hop music in different regions started to develop their own unique...
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... Ethnomusicologist are more likely to get in close to the artists and not only listen and record their music like a musicologist which, but will also study and participate in their culture as well. 4. What is “fieldwork”? What is its importance to the study of world music? Ans: Fieldwork is the practice of going out and listening and recording music directly from the source, the culture that is being studied. This is important in that it adds direct and pure sources and examples of the music being studied which can then be compared to and studied along with music of other cultures. 5. In what ways does world music study require an interdisciplinary approach? Ans: This is because not only is the music itself being studied (ethnomusicology), but the culture is being studied (anthropology) as well. 6. What is ethnocentrism? Have you ever experienced it? Ans: Ethnocentrism is the belief or assumption that one’s own cultural background is “normal” while that of other is “strange” or exotic. As a result of my West Indian up bring, I tend to pray before and after every meal, a practice which my...
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...Part One: Before the Trip Begins: Fundamental Issues (textbook) pg 1 – 15 Answer these questions below 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? They say this because of many reasons. One reason being that many people have attempted to analyze music in terms of linguistics but it tends to be in a completely different realm. A second reason is that music is not usually known to cross cultural languages therefore it could not a universal language if one culture is not able to experience the emotions like another culture would. It is viewed in a semiotic view which means that is seen as a symbols that can be interpreted. 2. What are the potential problems in classifying music as “classical,” “folk,” or “popular” When using these terms together you are disrupting a value system that is based on different levels. Classical being the highest, then folk, and then popular being the lowest. They can not all be used together because some are greater or lesser than another. 3. How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? An enthnomusicologist will get involved in more aspects of the culture while also doing what a musicologist would do such as record and study their music. 4. What is “fieldwork”? What is its importance to the study of world music? Fieldwork is when an ethnomusicologist goes to another country and experiences that cultures...
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...Questions to Consider 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? They mean that music is not a language because music does not have specific symbols in standard patterns and does not have grammar rules and also music can mean different things to people in different cultures. 2. What are potential problems in classifying music as “classical,” “folk,” or “popular”? The problem is that they suggest that one type of music is better than the other and also different cultures may have different definitions for what “classical,” “folk,” or “popular” music is. 3.How might an ethnomusicologist approach the study of Western Classical music differently from a musicologist? An ethnomusicologist might approach to study Western classical music and its effect on the Western society and a musicologist would just study the music as a whole. 4. What is “fieldwork”? What is it’s importance to the study of world music? Fieldwork: The first hand study of music in its original context, a technique derived from anthropology. it gives researchers a better understanding of the music they are studying since it gives them the opportunity to be out in the real world interacting with the people of the music they are studying 5. In what ways does world music study require an interdisciplinary approach? because not only is the music itself being studied, but the culture is being studied as well. 6. What...
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...Sept 1, 2014 CST 2420-03 Chapter 1 Questions 1- What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? Music is universal but it is not a language even though both are made of symbols. Language is made of symbols with assigned meaning whereas music is made of symbols that are neutral are open to the listeners perception to assign their meaning. Also, it is debatable if music can transcend language barriers. 2- What are the potential problems in classifying music as “classical,” “folk”, or “popular”? Generally music is related to class instead of being nuetral. No better or no worse. 3- How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? Ethnomusicologists not only study the music but how that music effects its audiences in a certain culture. Whereas, a musicologist studies music as a whole. An ethnomusicologist would study western classical musics effect on the western world. A musicologist would just study the music as it is. 4- What is “fieldwork”? What is its importance to the study of world music? Fieldwork is the recording of music using various methods including a cyclinder, disk, wire, and a magnetic acetate tape. The importance of this is that we can record the music we hear for further analysis. 5- In what ways does world music study require an interdisciplinary approach? The world music study requires an interdisciplinary approach because music...
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...Questions to Consider 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? They mean that music is not a language because music does not have specific symbols in standard patterns and does not have grammar rules and also music can mean different things to people in different cultures. 2. What are potential problems in classifying music as “classical,” “folk,” or “popular”? The problem is that they suggest that one type of music is better than the other and also different cultures may have different definitions for what “classical,” “folk,” or “popular” music is. 3.How might an ethnomusicologist approach the study of Western Classical music differently from a musicologist? An ethnomusicologist might approach to study Western classical music and its effect on the Western society and a musicologist would just study the music as a whole. 4. What is “fieldwork”? What is it’s importance to the study of world music? Fieldwork: The first hand study of music in its original context, a technique derived from anthropology. it gives researchers a better understanding of the music they are studying since it gives them the opportunity to be out in the real world interacting with the people of the music they are studying 5. In what ways does world music study require an interdisciplinary approach? because not only is the music itself being studied, but the culture is being studied as well. 6. What...
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...his Master of Music with distinction from Indiana University in 1969, and his Doctor of Philosophy from State University of New York at Buffalo in 1972. He was also a student in summer courses in New Music at Darmstadt in 1974 and in Special Seminars in Ethnomusicology at the University of Illinois in 1989. He has studied composition with Hilarion Rubio, Lucio San Pedro, Thomas Beversdorf, Roque Cordero, Ramon Fuller, and William Koethe. He has taken contemporary music courses with Istvan Anhalt and George Perle and has studied Ethnomusicology with Bruno Nettl. He has also studied Javanese music and dance with Sundari Wisnusubroto and Nan Kuan with Lao Hong Kio. Studies: COLLEGE University of the Philippines Conservatory (now College) of Music · Teacher’s Diploma in Composition and Conducting (1964) · Bachelor of Music in Composition and Conducting (1965) GRADUATE Indiana University · Master of Music in Composition, with distinction (1969) State University of New York at Buffalo · Doctor of Philosophy in Composition, minor in Musicology (1972) POST-DOCTORAL Institute for New Music, Darmstadt, Germany · Summer Courses for New Music (1974) University of Illinois, Champaign-Urbana · Special Seminars in Ethnomusicology (1988-89) Previous Positions and Affiliations: • Vice President, International Music Council Executive Committee at UNESCO (since 2001) • Member, 14-man Executive Committee of the International Music Council (UNESCO) • Commissioner...
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...“Any music that is created or produced with commercial purposes (i.e. financial gain) in mind” (Pruett 2011:1) —These definitions exclude many forms of music that might be considered ‘popular’ to the people that listen to them or refuse to listen to them —Tied to mediated listening and technology —Music could be popular for the masses when recorded music allowed masses of people to access the same music —Tied to commercialism – embedded within the commercial music industry —Certain styles of music appeal widely —These styles are industrialized, part of the music industry, large scale —Popular music is constantly changing – reflection of cultural attitudes about popular culture, culture as a national/international project —In ethnomusicology fieldwork focuses include: —Fan-based communities —Technoculture —Local or indie music scenes (Ex: Berger 1999; Fox 2004; Samuels 2004; Fonarow 2006) —Actual artists in popular music often remain elusive —Inaccessible to an ethnomusicologist —Little motivation to participate —Something to consider before picking a topic of study —As a result, very few studies of popular music focus on popular artists today —Different genres (country, rock, heavy metal, pop, rap) have different modes of access between fans and artists —Can be useful to an ethnomusicologist interested in fieldwork —Many sucessful popular music artists are interested in self-promotion, therefore most writing about them takes place in magazines or biographies ...
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...the broader discipline of musicology that studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people (such as music at the court), or the modes of performance at a particular place and time (such as the performance forces of Johann Sebastian Bach's choir in Leipzig). In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of the methods see the section on "Research in Music History" below) Some of the intellectual products of music historians include editions of musical works, biography of composers and...
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...Lindsay Mount MHL 143 Dr. Ferguson 16 August 2014 The Evolution and Culture of Flamenco Music Flamenco style has evolved drastically over the past century. Flamenco essentially was born from the interaction between gypsy and non-gypsy Andalusians of Spain. The history of oppression and changes in political thought has all contributed to the changes in the role of flamenco in the last 100 years. Currently due to tourism and the popularity of flamenco professionalization has risen out of this popularity. A plethora of public performances and concerts are found in Spain today, carrying on the history of the Andalusia people for all to experience (Manuel 47). Flamenco is a strain of Spanish folk music and dance that stems from the region of Andalusia, closely associated with the Romani people of Spain (Gurza E1). This rich development of dance and music has evolved over the last 100 years and beautifully captures the culture of this region by showing differences in its role for the people (Manuel 47). The old role of flamenco music in Spain was essentially used by the lower classes and persecuted gypsies of Andalusia (Washabaugh 51). It was a “cry of pain” for the suffering gypsies and of all the lower classes (Manuel 48). I observed the emotional nature of the music from my visit to the Musical Instrument Museum. The poetic nature of the lyrics was easily heard in my experience in the Spain exhibit. The use of the music was only for the lower classes of Andalusia but...
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...Chapter 1, Before the Trip Begins Music – a sound vibration that is distinguished from other kinds of sound such as speech or noise. Notation- notation or musical notation is any system used to visually represent aurally perceived music through the use of written symbols, including ancient or modern musical symbols. Instruments - an instrument created or adapted to make musical sounds, any object that produces sound can be a musical instrument Semiotics- is the study of signs as they pertain to music on a variety of levels. Poietic- the process of creating the meaning of a symbol. Ethnocentrism- the assumption that one’s own cultural background is normal while the other is strange. Ethnomusicology- the scholarly study of any music within its contemporary. Hornbostel Sachs- This is a system used to classify all musical instruments Fieldwork- the first hand study of music in its original context, a technique derived from anthropology. Modernism – a term for scholarship that emphasizes objectives truth and objective description in favor of subjective interpretation. Postmodernism – a general term applied to numerous scholarly approaches that reject modernism with its emphases on objective “truth” and objective description , in favor of subjective interpretations. Chapter 2, Aural Analysis Timbre- the tone quality or color of a musical sound. Pitch- A tone’s specific frequency level, measured in Hertz. Duration- how long something lasts ...
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