Music exists across the globe as a major form of cultural expression that can be functional, ritual, or simply for entertainment. The way a civilization utilizes music, however, is not the only way to make distinctions across different groups of people: music is made up of many individual components that have been been shaped by distinct civilizations over thousands of years. Some of these elements include the physical instruments, musical notation, quality of sound, or specific performance techniques like improvisation and group dynamics.The result is a fantastic array of unique sounds across that, when traced to their region of origin, can be used to help outline the boundaries of different societies. While cultural comparisons could be made using almost any aspect of the culture, music provides the valuable opportunity to study material culture, social structure, religion, politics, and collective memory simultaneously. According to Timothy Rice in his book on ethnomusicology, “humans make music as a constituent element of culture, and much research has been devoted to demonstrating connections between music and other facets of culture” (Ethnomusicology: A Very Short Introduction 65). When combined with these other “facets of culture”, music can be a vital tool to distinguish local from regional, indigenous from immigrant, or old from new societies.
The music culture of the Arab world is particularly interesting not only because it is rich with localized tradition and history but because it also contains substantial material from neighboring civilizations. In fact, it may be supposed that the Middle East’s long history as the crossroads of three continents would inevitably produce a varied and multifaceted music culture. This ...
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...such as the Arabic language, the tradition of oral retelling, and strong Islamic influences, there would be no distinct Arab music culture to speak of and it would instead exist only as an esoteric subset under a larger, overriding cultural designation. These and other factors have miraculously resisted the myriad of external influences discussed above and continue to serve as markers of Arab music throughout history. It is important to be able to recognize and identify these characteristics because these are exactly the qualities that become most important when the culture or the members of the society choose to assert their individuality. In an increasingly global society, the importance of finding shared heritage —especially in a cultural fragment as pervasive as music— becomes magnified as one feels the need to define at least one facet of their complex identity.
1. Music is a strictly local expression, rich in variety since each culture expresses affective differences through art, 2. Music is a poetic process--complex, vague, and irrational--based upon borrowed traditional musical materials (melodies, rhythms, forms, etc.), 3. Music is for a religious, elitist-class performer who can understand and appreciate its mysterious nature and power, 4. Music is played softly in intimate gatherings, 5. Music making is the activity of Everyman, exacting the talents of variously trained amateurs who, with industry and practice, decorate their recreation and leisure in moments of social intercourse.
Some scholars theorize that the Middle Passage to the Americas was so traumatic that most African influence was eradicated, and that few traces of Africa exist in African-American music. This “cultural tabulala [sic] rasa” theory is rightfully rejected by many scholars (Wilson 3). The inflow of African people to the New World was brought on by the existence of slavery, and resulted in the creation of a sort of extension of the African continent in a different hemisphere. In his article “The Significance of the Relationship Between [sic] Afro-American Music and West African Music,” music scholar Olly Wilson refutes the tabula rasa theory, and provides extensive examples of the ties that continue to exist between the two distant geographical regions. Another prominent scholar who recognizes the integration of African elements in American musics is Henry Louis Gates, Jr. Though his much deeper and more analytical approach to African musics is divergent from Wilson’s, both scholars acknowledge African diaspora musics and examine them in different ways based on different criteria.
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Music is a communicative activity that is essential to all cultures. It gives a group of people a way to express things such as moods and emotions or even religious and political beliefs. The significance of music to Afghan culture is expressed in The Kite Runner, “We just wanted to hear Ali sing. He’d clear his throat and begin: On a high mountain I stood, And cried the name of Ali, Lion of God. O Ali, Lion of God, King of Men, Bring joy to our sorrowful hearts” (Hosseini 11). Despite its importance in society, the Taliban considered music to be against Islam. Part of their stance against music was due to the improper uses by both the Communists and the Mujahadeen. The injustices faced by musicians are also expressed in The Kite Runner, “I learned that Khanum Taheri…had once been famous in Kabul for her enchanting singing voice…But as much as the general appreciated listening to music…he believed the performing of it was best left with those with lesser reputations” (Hosseini 177). The reintroduction of music into Afghanistan will only be possible if people understand why the ban was put into effect, how policies have begun to change, and how to effectively teach a culture to embrace music again.
Music’s role on society has changed drastically through the course of its history as it has become ever so increasingly expansive. Many of the previous musical movements were only for the wealthy as entertainment
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences; Racial identities, inevitably, exist because of these differences. However, as racial identities are founded on the differences of physical appearances, they are displayed through the differences of music, as music embodies the physical differences of human. Racial differences are magnified through many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which the differences of racial identities are revealed, it glues them
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
Music is found in every know culture, past and present. It is also, already being composed for the future. It is widely varied between all times and places. Since scientists believe that the modern humans arrived in the African culture more than 160,000 years ago, around 50,000 years ago, it is believed that the dispersal of music has been being developed between all cultures in the world. Even the most isolated tribal groups are thought to have had a form of music.
many cultures view as an important part in their way of life. Music ranges from strictly
This world is a big place. It is very diverse, in culture, beliefs, traditions, and even music. Music is an important part of this world; not just pop music and what many first world countries are used to, but music of the world as well, such as melodies in Cuba or Africa. These two countries share many characteristics in their music, despite being two very different places. From the melody, to the rhythm, and even the instruments and cultural practices, the countries of Cuba and Africa have both very similar traits in their music.
During the course of this semester, the several musical styles that have been discussed and analyzed have displayed various similarities and differences. These differences in certain musical elements have accounted for the distinctiveness and uniqueness of each style of music. The culture behind these countries’ music adds even more to their individualism. Cultural aspects such as religion play a huge role in the music of each country as well. Styles of music in Africa might be more upbeat than certain styles in India, for example. Some cultures use music in religion, while others may not. Aspects such as dance are important factors in all three types of music. Despite the differences and similarities, however, without music, these cultures would perhaps not be as fascinating and unique as they are now.
The influence that music has throughout the world is immeasurable. Music evokes many feelings, surfaces old memories, and creates new ones all while satisfying a sense of human emotion. With the ability to help identify a culture, as well as educate countries about other cultures, music also provides for a sense of knowledge. Music can be a tool for many things: relaxation, stimulation and communication. But at the same time it can also be a tool for resistance: against parents, against police against power. Within the reign of imported culture, cross cultivation and the creation of the so-called global village lies the need to expand horizons to engulf more than just what you see everyday. It is important to note that the role of music in today’s world is a key tool in the process of globalization. However, this does not necessarily provide us with any reasons that would make us believe that music has a homogenizing affect on the world.
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.