Global Music Series - Essay Example

COMPARE AND CONTRAST AT LEAST THREE VOLUMES IN THE ‘GLOBAL MUSIC’ SERIES. DOES THEIR STUDY SUGGEST THAT EXAMINING MUSIC ORGANIZED ACCORDING TO NATION-BASED CULTURE POINT TO A BETTER UNDERSTANDING? Contents: 1. Executive Summary………………………………………………………………….2 2. Introduction…………………………………………………………………………..3 3. Literature Review……………………………………………………………………4. 4. Discussion …………………………………………………………………………….7 4.1. Music in Egypt……………………………………………………………….8 4.2. Thinking Musically………………………………………………………….10 4.3. Teaching Music Globally………………………………………………….12 5. Comparison & Analysis……………………………………………………………14 6. Conclusion…………………………………………………………………………..15 Bibliography………………………………………………………………………..16 1. Executive Summary: Music is a moral law. It gives soul to the universe, wings to the mind, flight to imagination, and charm and gaiety to life and to everything” – Plato. The meaning of music has been understood through various theories, according to some – music is a branch of art which can be comprehended as a trend which is not vulnerable to scrutiny in terms of general and formally pronounced theories. Other substitute theories have been established in various other literatures which strive to investigate music as a common occurrence which are inclined to be pluralistic in their simulation that they incorporate to their perception of meaning in music, enticing semiotic, humanity, and anthropological theories. According to Inglis and Robertson (2005)1, “Music is one of the most geographically portable of all artistic and cultural forms” which are especially inclined to syncretism and fusion of varied styles and genres. Music is an inevitable part of any society’s culture and hence is often found deeply rooted in its culture and traditions. It is a common bond that engulfs people from diverse cultural backgrounds and ethnicities across the globe. It is a bond that separates the identities of the people as well unites them. According to De Nora2 (2001), Music is holds greater significance than a mere object of entertainment – it is also an inevitable tool that assists in regulating our affective states. The ideas and thoughts expressed through music are specific and peculiar to all cultures that carry specific meaning that is understood by the people of that particular community since it is associated with its past history. 2. Introduction: The world music is highly characterized by authenticity and exotic hybridity which has a peculiar touch of global aesthetic sense. This helps in transforming and reshaping the interrelations between music and ethnic identities of people irrespective of the limitations of geographical boundaries since world music is truly global in nature. The global music undoubtedly deals with the issues of culture and identity and is generally found to be involved or adopted by urban circles to be understood and analyzed from social, economical and political point of views. The ideas and thoughts that endure global music as a function of a ‘genre culture’ involves the policies and procedures of the industry and describes the manner in which the musicians and artists depicted here ensue to adapt and acquaint their music (Negus, 1999)3. The global music series is a collection of several volumes of fascinating and exotic music sorted according to different cultures and countries and presents a wide variety of music genres across the globe on a common platform. In this paper, we strive to study the impact and relevance of such global music in terms of gaining an insight into the various cultures of the nations and explore and analyze whether or not it, such nation based bifurcation helps in better understanding music as a whole. This paper seeks to approach the concept of global music series and analyze it from the perspective of its probable contributions in understanding it in a broader sense. The coming sections describe the significance and relevance of the global music series with respect to the three volumes – Thinking Musically by Bonnie C Wade, Music in Egypt by Scott Marcus, and Teaching Music Globally by Patricia Campbell. 3. Literature Review: The term world music encompasses within its gamut, local contemporary or traditional music, Western Music, non western music, music from Hawaii, Egypt, Japan, as well as Asia. Across the globe, music has similar interpretations and is unanimously viewed as a healing force. It is one of the most undervalued commodities in the world which has immense potential to act as a prominent force in the quest for greater understanding among various and predominantly diverse cultures of the world. The dynamic blend of these distinctly unique cultures made possible through media would facilitate smoother interaction between the people by giving them an opportunity to grow closer through all forms of communication. According to Richard Nidel4, (2005), “Music is the one form of communication that is devoid of prejudice, a language without borders that speaks to us all as equals in the most profound way”. Although world music or global music might be perceived as classical forms of national and / or international music it is in essence, the coming together of diverse cultures. It is mostly studied separate from the influence of the dominant and immensely popular western music and essentially seen as an amalgamation of different culture of the globe. It refers to a collaboration of artists and performers from all the nooks and corners of the world and involves the use and study of native indigenous instruments as well. It could, however, undoubtedly be associated with a set of values, culture and behavior that is peculiar to a certain section of the society in a particular part of the world and is a helpful tool in understanding the dimensions of world music in terms of fashion, lifestyles, aspirations and beliefs of the people involved in making of such music. In his book World Music: The Basics, the author Richard Nidel has defined the term world music to include music which is an inevitable part of a culture or society which is created as well as performed by indigenous musicians incorporating various other forms. ‘The Garland encyclopedia of world music’ which is a ten volume set is another such series of books published on world music and is considered to be among the best works in the field. Each volume in the series is dedicated to present an overview of the regions represented therein and a detailed survey of the musical traditions of the particular region, and descriptions of the various genres of music typical to that particular region or era. It includes wide range of information on music of the African, Asian, Pacific, Caribbean, European and North American origin with musical examples in support of the arguments put forward in the book. Music is one of the most significant tools that could be used to gain a better understanding of the world cultures. Several artists and performers across the globe strive to popularize their music and hence their cultural values through music. Today, with the increase in technology communication has become speedier than ever before and hence propagating and accessing music from any corner of the world is easy and affordable. It has found itself a strong foothold amongst the music loving community which defies all geographical boundaries and are united in the oneness of music as a central force. It finds a widespread appeal to the citizens of the new millennium who yearn to share their experiences and knowledge about music, thereby paving way for a new genre of music – that of fusion. 4. Discussion Despite the growing interest in global music and its potential significance to offer a better and broader understanding of the subject, there were, till now, very few books / sources that offered a fair view of music across the globe under one single roof. The global music series is a significant achievement in this direction that presents volumes of data on music from all corners of the world and an in depth analysis of music as perceived internationally. The book titled “Rough Guide to World Music, Volume One: Africa, Europe and the Middle East” by Simon Broughton and Mark Ellingham, has been undoubtedly the most popular books on global music so far, but still it lacks the comprehensive elements to a certain degree. However, the global music series on the other hand, includes information on music organized according to different continents, cultures and countries, including almost all countries as were possibly allowed, with respect to research and knowledge. All the books in the global music series provide a brief background of the history of the country to which it belongs, as well as scholarly discussions of the popular genres and styles of music and the instruments used predominantly in those areas, by the prominent artists, musicians and innovators. The global music series deals with the a range of culturally diverse music from the oldest to the newest forms, including music which is several centuries old, to the one which is as new as the latest contemporary fusions. 4.1. Music in Egypt Music has been an inevitable part of Egyptian culture since centuries. The Egyptian architecture bear testimony to the fact and the inscriptions on its tombs and other sacred places of worship are full of paintings that leads us to believe that music existed in the country and was an integral part of their rituals as well as used as a form of recreation and fun. However, written testimony about the ancient Egyptian music is absent from its scriptures but it could be analyzed in accordance with the present day Egyptian music. The musical traditions in the Middle Eastern countries were believed to have been developed and originated in their royal courts which developed gradually and spread to other Islamic states of Syria and Baghdad. The volume Music in Egypt by Scott Marcus is one of the various case study volumes which presents enlightening facts about the genre of music and gives insight into the culturally diverse frameworks of music practiced across the globe. It covers historical information about various facets of Egyptian music especially in the light of the country’s dynamic contemporary musical landscape. The book also offers an in – depth analysis of the explicit Egyptian traditions and culture with a special mention of the nation’s famous performers at the same time acknowledging the predominant presence of Islam that forms an integral part of its musical identity. It sheds light on the compatibility of music and religion which is accomplished by a collection of various performers in the form of an audio CD, which features music that reflects the country’s distinct cultural, ethnic, regional, as well as national traditions that co – exist in peace and harmony. The volume is a result of several years of extensive field work on the part of the author and successfully presents a detailed view of the ethnographic documentation of the various traditions inherent in their religion and culture with a special mention of several such distinct traditions that inspires their music – including: call to prayer, madh, music in wedding processions, as well as the one by the current pop singer Hakim. The book provides vital information that would help the readers in assessing the diverse aspects involved in the creation and existence of Egyptian traditional music and the impact of traditions on the same. The book especially emphasizes on the music that is popularized in the modern day Egypt and the wide variety of musical genres found in the Arab world and comments on the dynamic nature of the Middle Eastern Music that today finds itself engulfed in traditional folk lore and modernization as a result of impact of western music. The author also seeks to explore the inter relationship of music and people of diverse cultural and ethnic background and analyze and understand the role of music in eliminating regional or communal differences. The fabric of Egyptian music is interwoven with strong religious connotations and the presence and impact of Islam in their music is dominant and unmistakable. 4.2. Thinking Musically Thinking Musically by Bonnie C. Wade, is one of the most intriguing volumes in the global music series, which is primarily designed for undergraduates and other general readers who have little or no exposure to music. It includes music from diverse cultures such as the Americas, Asia, Africa, and Europe and creates a theoretical account for discovering the practice of music across the globe. It discusses the significance of various musical instruments and describes their importance from the perspective of its cultural folklore, religion and history. It examines and analyzes various forms of music from the point of view of diverse musical traditions and seeks to examine the extent of impact on cultures such as gender as well as ethnicity and their interpretation and performance of music. It seeks to understand whether the forces of nationalism and westernization of music affects the musical traditions. Thinking musically involves thinking and experiencing music as a form of artistic expression of one’s culture and traditions. People, all over the world, use and implement music as a tool that enriches their lives. It is essential, thus, to understand the manner in which music is globally taught and learnt since it helps in gaining a wider perspective of its impact and overall significance and its relevance to one’s traditional values. Music can be understood from diverse perspectives which include those who make music and those who listen and enjoy it. In certain societies music is made by people who are novices, who use and create it for fun and entertainment while in yet other parts of the world such a practice is entrusted in the hands of seasoned performers who are musicians with great potential and a thorough knowledge on the subject while there are those who are listeners. A great significance is attached to those who listen to music since they form a vital part of the musically aware population and are the ones whose praise and patronage is sought by some of the greatest performers. Understanding music requires a greater understanding of the term music and sound. Any pleasant sound could be music to our ears such as the gentle breeze, the crashing of waves and the sound of the birds in the morning while on the other hand any unpleasant or unwanted sound is noise such as the loud horns of vehicles and the sound of an alarm. These are in fact, some of the examples used by the authors to distinguish between various forms of music and derive a logical definition of the term music. According to the famous ethnologist, John Blacking, music is a humanly organized sound while according Bonnie Wade, “Music is not only a thing – a category of organized sound, or compositions but also a process”. Although the word music might have varied connotations, the study of its theory and practice in terms of world music is inevitable to gain a broader perspective of the culture and traditions of the people of diverse cultural backgrounds and ethnicity. It helps in understanding them better and in an enlightened manner. 4.3. Teaching Music Globally This series by Patricia Campbell and Bonnie Wade is developed with regards to the Thinking Musically series and is designed to provide ideas and techniques to the teachers and students of music education to study world cultures. It offers an impressive selection of exercises and activities of varying degrees of difficulty that acts as a guide for students ranging from elementary through university level for use in bands, choir, general music, orchestra, etc with an aim of establishing a comprehensive and all round understanding of music in a global era. The passion for music around the globe has seen tremendous growth particularly in the past three decades and is evident from the propagation and spread of music related courses at the college level, the expanding market and rising popularity for ‘world music’, as well as the large scale proliferation of musical performances as a tool to attract international tourism. Such large scale publicity and the concentrated interest in music have further contributed to the rise in research and publication of articles related to ethno musicological studies. The global music series offers a new model on the basis of which teachers can base and design their own courses. It provides a wide range of musical lessons to choose from and hence a better understanding of world music in detail. Thinking musically helps in understanding about the various manners in which people create meaningful music and its significance in their lives, and presents an overview of the basic musical concepts as they are practiced in musical systems around the world (Campbell, Wade, 2004). Music holds significance across cultures and irrespective of cultural barriers. Thus understanding music as well as the individuals who play, sing, and dance to it and adapt it according to their present lifestyles broadens the perspective of those who teach as well as learn it. Music is useful as well as meaningful to various people in various ways and this could be used as a guiding theme by the educators to direct their experiences in a way that would enhance the knowledge of their students and shape their development and understanding of this overriding principle. Various models have been used and implemented to produce musically literate singers and artists and efforts have been made in school programs across the globe such as in countries like North America, Europe, Australia, and New Zealand. This volume, in particular, aims at teaching students multiple human dimensions which reflect the pluralistic perspective and persuade educators to adopt a global approach to teach music. According to the authors, the key to learning music is ‘listening’ since orientation to music plays a vital role in gaining a wider perspective of the genres of music being learnt / taught. This method is found to be most beneficial for novice learners or beginners including children and adults. Listening helps in developing a sound awareness of music along with necessary insight on the significance and use of music and the role it plays in peoples’ lives. The various types of listening such as teacher – directed attentive listening which aims at exploring first entry sound components of certain specific music genres as well as traditions. While enactive listening on the other hand, strives for active participation in music in the form of singing, playing, or playing to the recorded musical selections (Campbell, Wade, 2005). 5. Comparison & Analysis: This paper seeks to present a comparative analysis of global music with a view to understand the varied musical features which help in providing a theoretical account of the manner in which it can be contemplated. Various perceptions and analytical models offer diverse perspectives of a piece of music which reason the distinctiveness of global music as the one which relies on a combination of distinct analytical systems. Thus, a comparison of miscellaneous musical works consequently compares the different combinations of world music and interprets the same to provide a wider understanding of the phenomenon. Comparing local & global music on diverse yet inter connected levels is a complex event since the solutions derived there from are often contextual in nature. The understanding and analysis of global music helps in achieving better insight into the music that is created and performed by indigenous international artists which incorporates their distinctly traditional culture. The music from each country carries along with it a peculiar traditional background that is specific yet not limited to that particular culture or tradition. Certain musical forms are now found to be exceedingly modernized especially with the rise in popularity of media and better avenues for communication. Westernization of music is a predominantly significant factor that can now be casually found ingrained in the popular traditional music. 6. Conclusion: Music today has successfully defied all geographical barriers and has opened avenues for new global listeners who appreciate and welcome any new form of music. This is the reason why foreign music is finding new found popularity status like never before, fuelled with the boom in technology and the modernization of forms of communication. Global music, today, is playing a significant role in creating and strengthening cultural bonds where the union of culturally diverse music is gaining widespread critical acclaim and mass popularity. Experimentation of music is on a high and a blend of diverse music styles is a predictable outcome. Bibliography De Nora, T, (2001). Aesthetic agency and musical practice: new directions in the sociology of music and emotion, Music and Emotion: Theory and Research, Oxford, Oxford University Press, Pp. 161 – 180. Inglis, D., Robertson, R., (2005). World Music and the Globalization of Sound’ in The Sociology of Art: ways of seeing London: Palgrave Macmillan. Negus, K., (1999). Music Genres and Corporate Cultures London, Routledge. Campbell, P. S., Wade, B. C., (2005). Teaching Music Globally: Experiencing Music, Expressing Culture, Oxford University Press http://www.musicresearch.in/categorywise.php?flag=R&authid=1 Read More