National music of China, Indonesia and Brazil - Essay Example

?Introduction The changes within music are not only reflective of expressions of musical techniques and styles. More important, there is a direct relationship to the surrounding, including the social and cultural components of the musical style. When looking at specific styles, it can be seen that there are nationalistic effects, specifically which are linked to the music and the approach taken for composition. In contemporary music, the nationalistic style is still a main component of expression. This is built on the region in which one comes from, instruments which are used for a specific area and the approach to the musical style which is accepted within the country. While there is blending of globalization from one need, nationalism is still a main component of the music and the way in which styles have evolved into the present day. History of National Music Nationalism first became prevalent in the early 1800s and lasted through the early 1900s, specifically with the approach to patriotism within various countries. The national approach was based on the pride which one had for their country and the need to create techniques and styles which reflected this. The idea of nationalism was first based on divisions between the German, Italian or French style, most which was seen in the image of the nation. However, this became more prevalent in the 1800s and 1900s, specifically because of the national agenda and political approach. Many leaders were searching for an identity which closed the doors to trade and other aspects of country interference, specifically to gain power over those within the country. Others were trying to shape the image of the nation, specifically so it would produce pride among those in the nation and increase the cultural and social production. This led to the main aspects of national pride which were reflected in the music (Bohlman, 58: 2004). The concept of patriotism which was pushed by the political leaders and society was followed by several composers experimenting with music and trying to find different ways of expressing what was occurring within the society. Composers such as Bartok were renowned for going into the fields and moving into the early fields of ethnomusicology. Folk songs from villages would be recorded then transferred into the classical styles within the nation. Other regions of the world followed this format, specifically with the folk music, combined with the contemporary idioms that were within each of the countries. From this viewpoint, countries were able to keep their identity and heritage while associating the different concepts to modern and contemporary styles. This was followed with the continuous nationalism that experimented with modern sounds but announced that the movement of technique was specifically for a region. For instance, the concept of Impression, led by Ravel, was based on the French contemporary aspects in society. These several movements then redefined the approach to nationalism and the way in which it was associated with culture and society (Grosby, Leoussi, 55: 2007). Defining Contemporary Nationalism There are several elements which create a sense of nationalism in society and the contemporary approach which is a part of the music created. This is not only based on the idea of folk music and the presentation of one type of music presenting a country. The definition of nationalism has transcended into defining a country by the sounds which belong to a specific country and create an understanding of the artists which are in this region. This began with the contemporary approach to the modern compositions, which included the French Impressionism. While this wasn’t French, different techniques and theories led several to the belief that it belonged to this region. The ideal wasn’t only associated with the definitions of what it meant to be national through folk music, but also included the several techniques used. Instrumentation, distinct sounds, approaches to the culture and creating a sense of diversity within a given region where some of the main attributes used with the modern compositions (Post, 5: 2006). The concept of national music is one which then remains in question because the definition is one which is inclusive of techniques as well as composers who live within a region and are influenced by both the past and present music. While there is an emergence of globalization throughout the world, cultures and distinct attributes of a national culture still persist. An example of this is in the popular culture of Japan. The traditional folk music, classical styles, ethnic music and different forms of music are still popular in the forms of the fine arts. However, Japan has also emerged the new styles of pop rock and techno into the different listening styles. Since Japan is used to the alternatives of the culture, there are techniques which remain consistent in the music while other elements fuse together the global sounds taken from other cultures with the music of Japan. Even though this particular country is noted as global, it hasn’t lost the ethnicity, culture or the traditions that are familiar to those in the country, while allowing the fusion of music to remain prevalent. This is one of several examples which show how the idea of culture and socialization hasn’t been lost to the alterations that are in music (Allen, Sakamonto, 15: 2006). Not only is the basis of nationalistic music from the prevalence of sounds and techniques which are a part of a culture. There is also a sense that the music is able to create a sense of identity through the individuals which compose the music. One of the first relationships which one creates to music is based on the understanding of who the composer is and what their relationship to the music is. The place in which an individual is born then creates an expectation that the individual will compose with influences of the style which they are most familiar with. This includes the sounds which are in the surrounding environment as well as which theories are learned when in a given situation. For those that are composing music as a citizen is also a sense of auditory space which influences the sounds that are composed. From this perspective, the nationalism begins with the identity of the composer and the main region which they are from, while the theories which are combined with this can include any of the elements of music which are learned from the composer (Revill, 2000). Republic of China The first example which shows the ethnomusicology which has kept elements of tradition and nationalism while continuing to expand is in the republic of China. Currently, the Republic of China is regarded as trans-local. While there are elements of globalization and the contemporary styles in the culture, there is still holding onto the traditions that are within society. Those in the community have a sense of space that belongs specifically to China, combined with links and identities that are a part of the region. The architecture, art and the different works of those in society have all created the same links to China. There is openness toward the new; however, most hold the philosophy that this should be balanced with the traditions and cultures of the past. The change then moves into music that incorporates the folk styles, instrumentation and musical techniques of the past while continuing to persist with the modern styles of music (Oakes, Schein, 7: 2006). An example of the modern ideology which is mixed with the traditional and cultural elements of the Republic of China is through the classical composer of Chen – Yi. Chen – Yi is a well – known classical composer which blends in the Western and the Chinese styles with the music. Each of the compositions which he has carries a specific formula or attribute which is based on the music and the association with the culture. This is done specifically with the fusion style process which combines the past and the present global implications for style (Guo, 1, 2003). An example of this is in the piano duet, “Duo Ye.” In this particular piece, the piano and the use of specific techniques imitate the Western style. The broken chords in the left hand that appear throughout the piece create a similar style to rag time or the contemporary music of Germany and France. However, the melody in the right hand and the intervals used with the right hand are a representation of nationalistic styles. This uses the familiar tones and the pentatonic scale of China, as well as broken melodic lines that are known for Chinese nationalism. The two elements are then able to fuse together with the overall sounds as a representative of both Western and Chinese attributes (Chen Yi, 1: 2010). Another example of this particular style is through the composer Zhou Long. Long was born in Beijing, China and studied music in Beijing. Wu became one of the best known players of the traditional instrument of the pipa playing style in the region. After this recognition, Long moved to the Western region, in which the Chinese and Western instruments became integrated with newer compositions. The identity which is approached is one which combines the pipa playing, traditional Chinese instruments and the Western instruments into a fusion and blend. This creates a sense of a cultural space that can be used for the expressions while allowing the music to keep a different style that is both contemporary in nature while holding the elements of nationalism and culture that are a part of the Chinese methodologies to playing the music (Everett, Lau, 35: 2004). An example of Zhou Long’s combination of ideals is through pieces such as “Five Elements.” This includes five pieces in the music that are divided by the elements, a philosophy which is known to China. The orchestration is the main division noted which is inclusive of the pipa style that is in solo with a clarinet. This is combined with the traditional orchestration, including piano and strings. The Chinese instruments also work within the background, the Erhu and other Chinese stringed instruments. As the Chinese instruments remain the basis of the solo, it is also required to keep the instrumentation, melodic type lines and the harmonies in conjunction with the Asian and Chinese style of sound. This is heard with the several aspects of the rhythm, accents and the harmonies of the piece. However, Long also takes consideration into the Western styles of sound and rhythm. Many of the pieces are noted as being similar to Wagner, such as the “Five Elements” relating to the “Rites of Spring” through the strong rhythmic accents and movement of the piece (Gong, 1: 2008). Indonesia Another region which shows the same fusion and sense of nationalism is in the region of Indonesia. The music of this area has taken the same approach as China, specifically which is linked to holding onto the sounds, thematic material, instrumentation and techniques that are known throughout the region. However, there is a fusion and blending of other sounds, specifically which creates a nationalistic identity while moving into modern and contemporary sounds of the region. The concept of Indonesian music is one which is based on the idea of creating symbolic meanings which represent the culture and which provide a different outlook to what is occurring within the region. This is combined with the ability to express the changes that have happened in music through the course of time and how this links directly to the communication about music (Weintraub, 20: 2006). An example of the Indonesian nationalistic style is through the composer Yohanes Subowo, through pieces such as “Laku Telu.” The music is made for rebab, erhu and violincello, specifically which shows the fusion between the cello and the rebab and erhu from Indonesia. The composer uses the context as one which is associated with the Laku Telu, a part of the culture and belief system of Indonesia. The sounds which are heard from the beginning are representative of the Indonesian sounds, specifically which are imitated through the violincello and erhu. This moves into the continuous sounds which are familiar to the region as a harmonic basis, followed by a combination of folk melodies and styles popular to Indoensia. However, the composer is also inclusive of the Western contemporary classical music, specifically with the focus on sound as the driving force and the combined melodies that are intertwined through the piece (Raden, 15: 2004). Another representative of this in the contemporary music is through the classical composer, Amir Pasaribu. A song which is representative of this is with the piano works of the composer. These are based on the Balinese dances and sounds of Indonesia. The harmonic structure uses the open form of fifths through the melody, which is specifically supported by the harmony of the piece. The songs are specifically based on the folk tunes of the region and the contemporary and popular songs of the region. However, Pasaribu combines this with the use of the piano, which is a known Western instrument. The classical representation which comes from the Western fusion is then based on the techniques and performance which is applicable to the piano and the expected changes in dynamics, tempo and the overall sound and feel of the piece (Tomsa, 43: 2008). Each of the composers represents the larger picture of what is inclusive of the Indonesian sounds and how these relate to the overall identity which is in a given region. The works of Pasaribu and Subowo both show the sounds which are influenced in the auditory space that they have grown up with, as well as influences from the Western styles and forms that are known throughout the world. When examining these pieces, it can be seen that there are nationalistic elements. However, as the auditory space of each composer changes, so do the approaches and theories that are implied in the work. The overall dynamic changes with the music, specifically with the changes which the composers go through. With this in mind, the overall elements remain nationalistic because of the capabilities of fusing instruments, theories and other perspectives which make the sounds related to the Indonesian cultures or of another region (Dunbar – Hall, 52: 2004). Brazil and South America Another known area which continues to express the ideologies of nationalism through the contemporary music is Brazil and South America. The concept of Latin American music in both classical and contemporary forms of music holds strong dominance while representing the culture in a global musical form. The music of this region is based on the ideology of nationalism first through the strong rhythms that are specific to various areas. This is followed by the dance forms that Latin America is renowned for, as well as folk melodies and harmonies that are based on open forms, repetition with the melodic lines and the rhythmic drive as the main component. These different concepts of the national form are still heard today through various composers while creating an element of recognized identity through those that are within the region (Machado, 37: 2006). The concept of nationalism in Brazil and Latin America is one which slightly differs from other regions because of the movement into contemporary styles as well as how this is associated with the region. China and Indonesia noted a distinct change which moved into contemporary and modern aspects of the music. Brazil; however, is one which is continuing to define nationalism and to remain separate from the Western identity which constitutes many of the forms of traditional Western music. This is noted by the identity which comes from the culture, the strong support in society for the music and the political agenda which is linked to allowing the cultures to thrive through the area. This began in the early 1900s and continues to be a driving force among those in the region, specifically in reference to keeping the musical heritage and combining this with the socio – cultural movements that are associated with the region (Stroud, 200: 2008). A composer which represents this specific prestige is Andersen Viana, a Brazilian composer. This composer is renowned for the Brazilian style which is in the works he presents. However, he is also known for his several sound tracks which have made their way into the Hollywood film scenes and the popular Western music that works within this genre. The works of Viana, such as “Voices of Earth” and “Flowers” are some of the most popular renditions which have been achieved. The Western elements are inclusive of the harmonic structures, such as the 1-3-5 intervals and movement of the orchestration that is associated with this. The slower parts of various pieces work with the Western style, specifically because of the harmonies which are used. However, the pieces also incorporate the strong Latin beats and the musical instrumentation of Brazil. The flute, guitar and voices that are a part of the music continue to represent the identity of Brazil and strongly associate with the idea of Latin music that is a part of the culture (Viana, 1: 2010). Another figure which holds the same concept of identity with Brazilian music is Osvaldo Lacerda. An example of the music which shows this ideal is “Cantilena.” This uses piano and violin as the main instrumentation. However, the Cantilena is a popular dance that is in Latin America and is known as an expression of love. The rhythm of the piano, melodic lines of the violin and the movement through the piece represent the ideology of the Cantilena and the Brazilian flavor known throughout the region (Lacerda, 1: 2010). The elements of Lacerda’s work and his approach to music are one which continues to represent the Brazilian culture. This comes first because he is located in Brazil and is recognized first as a South American composer. However, the polyphonic elements of Lacerda’s melodies, the strong rhythms of his dance pieces and the harmonic patterns are known to represent the Brazilian folk music and popular music. At the same time, there are representations of composers such as Debussy and Villa – Lobos in the music, specifically through techniques which are incorporated into creating the right sound and level of impressionism with the music. This creates the overall elements with the music and leads to the identity of Brazilian music within the culture (Audi, 393: 2007). The concept of nationalism in the case of Brazil is one which becomes identified through the overall concepts in society and the movement of classical music into the contemporary approaches. This is one which is based on the cultural intersections which are now identified with society. Brazil is a representative of this, specifically with the national identity based on the folk music, rhythmic structure and harmonies of the music. Instead of letting go of this identity, there is a popularization of the Brazilian composer, specifically because of the place in which they are writing and the surrounding influences which are a part of the music. While there is a fusion of the international elements, including the Western styles of harmony and structure, the prevalence in the music remains one which is strongly associated with the national identity and the understanding of how the music theories and sounds are specific to the region in both the classical and contemporary sense (Hamilton – Tyrrell, 1: 2006). Conclusion The concept of national music is one which began in the 1800s and was based on the identity of belonging to a specific region and writing with the instrumentation, theories and folk sounds that were popular to this area. As the concept of nationalism grew, it also created new forms of music and the way in which it could represent a specific place or culture. When looking at the national music of China, Indonesia and Brazil, it can be seen that there is a specific relationship to the national identity. This is defined by the musical instruments, techniques which are used and the overall sound which is associated with the culture. While there is a sense of fusion which incorporates the Western styles and elements, the dominant sounds is based on the influences of the composers, specifically which come from the region which each belongs to. When looking at the works of various composers, it can be seen that nationalistic techniques are still the dominant factor in the composition of the music and the approach which is taken toward expressions of contemporary styles. The main ideal becomes based on the influences of a composer and the way in which this is expressed and fused together, creating both a nationalistic and contemporary sound. References Allen, Matthew, Rumi Sakamoto. (2006). Popular Culture, Globalization and Japan. 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