introduction to world music dr. tamara livingston tlivings/worldmusic. htm
TRANSCRIPT
Introduction to World Music
Dr. Tamara Livingston
http://ksuweb.kennesaw.edu/~tlivings/worldmusic.htm
Course Goals
• Think critically about music
• Be able to see music as more than “just entertainment”
• Understand how music means; how is musical meaning created?
• Develop respect for the significance of non-Western music systems in their respective cultures
Ethnomusicology
• The study of music in culture (cultural context); the study of music as culture.– Sounds– Concepts– Behaviors
Defining the Issues
• “Music” or “Musics”– Music systems: is Western Art Music one or many
music systems?
• Universality vs. Differences– Universal language vs. “personal” music
• Defining Music• Politics of Music (musical meaning and discord)
(exs. Wagner in Israel; Mozart in Berlin)
Music Examples
• Is it “music”?
• What can we say about it?
• What does it mean?
• How does it mean? (what other information might we need before addressing this?)
Defining Music
• Soundscape – the characteristic sounds of a particular place, both human and nonhuman – R. Murray Schafer (Canadian composer)
• Music is … “sound that is humanly patterned or organized” – J. Blacking (British ethnomusicologist)
• Music-culture – the way of life of a people, learned and transmitted from generation to generation, as it relates to music.
Culture
• “that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society” – E.B. Tyler (anthropologist)
Elements of a Musical Performance
MUSIC
PERFORMERS
AUDIENCE
TIME AND SPACE
A Music-Culture Model
AFFECTIVE EXPERIENCE
PERFORMANCE
COMMUNITY
MEMORY/HISTORY
Another Music-Culture ModelSOUND:
CONCEPTBEHAVIOR
Melody
Rhythm and Meter
Texture
Form
How music is producedWho produces itWho participatesRitualRulesAudience/Performer interactionMovement
AestheticsEthosTheoryMeaningsRepertoiresIdentityHistory
Thinking / Writing About Music
• Why do we need music-culture models? Isn’t music analysis all that is needed?
• Why do ethnomusicologists seem to be more interested in cultural aspects rather than the “music itself”?
Description and Theory
• Description of musical practice includes: Face-to-face observation and participation; insider interviews; fieldwork (immersion in a music-culture)
• Theoretical analysis: attempts to ground the “what” in the “why” by linking description to meaning within a cultural context;
Ethnomusicological Theories
• Cultural Evolutionism and Diffusionism (Comparative)
• Structural-Functional Approaches• Linguistic Approaches• Marxist Approaches• Performance Theory• Gender, Ethnicity and Identity Approaches• Postmodernism, Postcolonialism, and Globalism
Analysis Example
• Gilberto Gil (Brazilian Singer/Songwriter), from “The Spirit of Samba: The Black Music of Brazil,” Jeremy Marre.