The Impact of Music Performance - Essay Example

Name : xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Tutor :xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Title : World Music Institution : xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Date :xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx @ 2011 Introduction Music is one of the things that help us to build and strengthen our language skills by helping us to know how to socialize and function with people that we live with in the society. Most people who develop their interest in music are those who get introduced to music at very tender ages and this is what helps them to continue liking it and thus helping them in their music performing abilities (Graham 2009).This is one of the reasons that can be used in order to explain the impact of music performance, and the culture being represented by a given genre of music in the world today. World Music World music is mostly used to refer to global music which involves cultural folk or traditional music which is in most cases made and played by local musicians and it bears a very strong relationship with the music played in the areas where it originates from. The term world music is associated with Robert Brown who was an ethnomusicologist. He came up with the term during the 1960s and developed various academic programs in it at Wesleyan University. To make the process of learning better Brown had to invite some visiting performers coming from Asia and Africa with whom he started ‘a world music concert series’ Jones (1959).  The term world music became popular in the 1980s within the music industry and the media as well. In general terms the term is applied to any kind of music that is not western. Many definitions developed for world music are conflicting. One of these definitions is that it refers to ‘all the music in the world.’ It is also used to refer to music that brings together western popular music styles and one out of the various genres of music described as ethnic or folk music that is non western Azam, (1993). The term ‘world music’ originated in 1982 when ‘World music day’ was started in France. Since then, world music day has been commemorated on the 21st of June each year. France has played host to music from various parts of the world since then. Immigrants from Morocco and other North African countries and others from West Africa have established their music in France. Various styles of music have grown out of these with their roots in the respective African cultures. As a genre that is pure the original intention of world music is to make a total distinction of a full array of specificity in ethnicity. However the 21st century that looks more globalized has a categorical scope that is expanding very fast. The evidence for this can be found in the desire for artists that do world music but are not very much sterile ethnically to be classified in sub genres that are not very much standardized like global fusion, world fusion world beat and ethnic fusion Nidel (2004).  Even though all these terms can be seen to be sub-genres within pop music they border to the real definition of world music. World music goes beyond the sphere of ethnic traditional music. World music happens to be a music genre that is the broadest among all the other genres. Slowly by slowly it has new categories that are evolving inside it through application in its diversity and depth Harwood, (1976). World music is not entirely folk music with traditional roots. It could be used to refer to the indigenous classical forms that occur in the many world regions and also to today’s pop music. Succinctly one can describe it as local music belonging to other people. It is a term that refers to a very nebulous genre with a growing number of sub genres that occur naturally within the bigger perspective of world music so that they may capture trends of music having combined ethnic culture and style with western elements inclusive. World music can have clear non western modes, scales, musical inflections and in some cases features that relate to traditional cultural instruments such as the steel drum, the kora of West Africa, didgeridoo or the sitar N'Dour, Nickson (2004).  Music from various parts of the world has a very wide influence that runs across cultures since a style will naturally exert influence on the other and also in the near past world music has come out as a distinct genre. The study of world music academically and the genres of music as well as particular artists that are associated with it occurs in disciplines like folkloristics, anthropology, ethnomusicology and performance studies Nidel (2004).  Since in this age music is being produced digitally, the abundant presence of ethnic music that is of high quality from many regions in sound bytes, music samples and loops is helping in the commercial production of music which makes a lot of indigenous music available to independent artists that are upcoming N'Dour, Nickson, (2004). Similar terms between different sub categories within primary genres of music like pop and rock, world may be confusing and ambiguous to players in industry just as it can do to consumers. This happens to bear a lot of truth in world music in which branches of pop trends that have an ethnic influence are defined by genre through the perception of consumers the same way they are defined by the forums of the music industry which govern the foundation for distinction by category Wergin, (2007). Many academic scholars are in agreement that in this current world where there is blogging and consumer music reviews the public perception of the culture of global music is what finally provides a definition from the ambiguity found in genre regardless of the clarity that a category is outlined with by music journalism and corporate marketing forums. The slow movement of world music from the traditions of roots music to a wider list of hybrid semi-genres gives an example of the motion that the boundaries of genre can display in a pop culture that is under globalization Harwood (1976). The continuous changing nature in pop trends can easily be predicted using the music industry. The classic original world music definition was partially made for instilling a distinction and authenticity that is perceived between traditions of indigenous music and those which are diluted using pop culture and the debate about the possibility of maintaining the same perception in the wide world music genre is still going on N'Dour, Nickson, (2004).  At the moment, mainstream music has incorporated many world music features and artists like ‘Buena vista social club’ have managed to get to a bigger audience. World music has also gotten a lot of influence form jazz and hip hop. Heavy metal music players like Nile and Tool have adopted world music into their art. Certain entertainers who move from television and film to recording normally begin with world music. Programs of world music in the current times normally play reggae or African hip hop and jazz music from Latin America among others Harwood, (1976). Public radio as well as web casting is used by many music lovers through out the world to listen to the huge sound diversity of styles and sounds which together contribute to world music. World music is popular in various media houses such as the NPR, BBC and the Australian Broadcasting Corporation (ABC) and people listen online and also get information about world music artists and its history Wergin, (2007). The scope of definition of world music has grown exponentially. Fresh variations in ethnic, global music tradition since they lack an elaborate standard for categorization they populate the sub genre list of cross pollination. By default, world music projects that are multicultural or not specific to any region are normally classified in the genre of world music N'Dour, Nickson, (2004). Forms of world music Popular world music forms are among others the many forms of classical music with its origin out of Europe such as Japanese koto music, Tibetanchants and Indian raga music,Folk music form Eastern Europe like the Balkans village music, and the various tribal and folk music forms from Asia, Africa, Oceania, Middle East and South and Central America Nidel (2004).  The big world music category has within it isolated ethnic music forms that originate in various geographical regions. These ethnic strains which are mostly not similar are normally categorized by use of indigenous roots. In the 20th century the discovery of recording sound cheap international travel by air and easy have global communication for artists and the public has created a phenomena that is known as cross over music Wergin, (2007). Musicians from different locations and cultures can get recorded music very easily form all over the world, hear and see guest musicians coming from other cultures as well as tour other countries in order to play their own music and in the process they make a melting pot with many stylistic influences N'Dour, Nickson, (2004). Because the music industry made this genre to be a categorical standard the entire scope of how an average consumer of music describes world music in the current world has widened to include different blends of traditional ethnic music, interpretation and style and related genres of music have been created as a representation of these hybrids like world fusion, world beat, global fusion and ethnic fusion Nidel (2004).  “Classic examples of world fusion are the west African meld or Irish of Afro Celt sound system, the pan cultural sound of Aomusic and the jazz or Finnish folk music of Vartinna and each of them have tinges of western influence which is a noticeable element that is perpetually increasing in world music expansion genres.” The related genres of world music such as world beat, world fusion, global fusion and ethnic fusion have the capacity to blend particular indigenous sounds that have more clear western pop elements. Examples of these include the Graceland album by Paul Simon in which there is heard Mbaganga music from South Africa, music by Peter Gabriel and Sufi singer, Nusrat Fateh Ali together with the Deep forest project whereby West African vocal loops blend with western harmony structure and rhythmic textures Manuel, (1988). Determined by the context and the style, world music at times shares the genre of new music which is a category that has very fast expansion and it includes textural expressions and ambient music originating in indigenous roots. Examples of these include Tuvian throat singing, Tibeten bowls, Gregorian chant and flute music by Native Americans. When world music is blended with new age music it produces a sound which is categorized as an ethnic fusion of hybrid genre Bohlman (2002). Although world music basically describes what traditional music is the category of world music has within it music originating from urban communities in the non-Western world such as ‘South African township music’ and other music forms that are non European and have the influence of third world music like Afro Cuban music although popular songs from obtained form countries that do not speak English in Western Europe like French pop music do not fit in the category of world music N'Dour, Nickson, (2004). World music is criticized widely for having a universal symmetry where almost every term that can be classified under the genre is given its definition in relation to a culture of western music simply because dominating corporate structures for distribution and promotion of music have their origins in North America and Western Europe just like the forums for the establishment of categories of industry genre. Therefore in the context of a market ethnic music is normally defined synthetically as by a radius taken from the center which is the West. Some musicians don’t like the use of the term ‘world music.’ They tend to think that the term ‘world music is parochial marketing term that can apply to all genres of music that is not of western origin Bohlman, (2002). African music African music includes very many genres of music drawn form various traditions and cultures across the continent. The most notable types of music on the continent include South African music, North African music, West African music and the music of central Africa represented strongly by Congolese music popularly known as Lingala music. All these categories are extremely broad and they contain very many sub groups depending on the many cultures found in the respective regions Wergin (2007). Meaning of Music in Africa Music is given very different approaches from different parts of the world and this is because they all have differed cultures. Africa is one of the continents that highly appreciate music in the world and this has been that way even before the colonial days. Most Africans find pleasure in singing because they are aware that their ancestors did a lot of invocations that involved a lot of singing and dancing and that most of traditional occasions such as sacrifices could not take place before there was a song to accompany it Gerhard, (2010). Music was one of the elements that African elders in the traditional days used in order to impact knowledge to their children. They did this through telling children stories that entailed a lot of singing and this sounded very interesting to children thus making them more interested in hearing the stories and thus learning new concepts in life. During initiations such as circumcisions, teenagers used to be sung for so as to remove fear from their minds and making them brave enough to face greater challenges in life ahead of them Graham (2009). Music means a lot in most African countries in the world because it contributes a lot to the success of Africans. In everything that people do in Africa, music has to be part of it so as to make it interesting. Music is embraced at any place or time by people in most African communities because they do believe that music should be part of each activity taking place in their society Gerhard, (2010). Kwesi, Y (2004). African folklore: an encyclopedia of music and dance. Taylor & Francis In Congo-Kinshasa for example, women grind the cassava floor in the pestle in turns while singing some traditional songs and this makes grinding work easy to do, boys who are sent to take care of cattle in the forest also come together and start singing while grazing their cattle and this helps them to avoid boredom in the responsibility that they have been given and when men are digging in the gardens they also come up with a song to accompany their work Kwesi (2004). Music is composed in order to accompany any activity taking place in African communities and this is also one of the things that bring unity among people in African societies. Through singing lullabies, children in most African countries become introduced to music when they are very young and this contributes a lot to their passion for music careers. During other rights of passage such as baptism, weddings and funerals music are one of the elements of initiative that is used in order to bring people together Kwesi (2004). African music is also very interesting in the sense that it uses natural African instruments such as drums and other instruments. Music is also used by many Africans in order to please their leaders as a mode of appreciation of what they have done for them and one of the most common known African presidents who preferred being praised with songs was Mobutu Sese Seko of Congo-Kinshasa which was formerly known as Zaire Gerhard, (2010). Picture of Mobutu.Graham, R (2009).The world of African music: Stern’s guide to contemporary African music. Pluto Press, Indiana University. Praising leaders in the African society was one of the ways of encouraging them to continue with their reproductive leadership and also encouraging them through flatters even when their leadership was not good. Without music, the African culture would not have meaning because Africans strongly believe in the power of singing and invoking mystic powers as they were taught by their ancestors in the traditional days Kwesi (2004). Most people in the world have lost their culture but in most African countries it is evident that music has helped them maintain their culture repetitive songs are sung during different occasions and through this the same lessons are maintained in the African society. Most African communities highly appreciate music as compared to other societies in the world where music is just for pleasure Kwesi (2004). For Africans, music is way beyond just pleasure but also creates a social platform for people to interact in peace love and unity. It harmonizes the manner in which people relate with each other in the society and this is one of the reasons as to why Africans include music in most of the things that they do in their daily activities. On the African continent one very prominent music genre is the Congolese music or Lingala Graham (2009). Congolese music There are very many genres of music in Congo, a country found in central Africa. Of all these Lingala is more recognized on both the local and international scenes. Lingala music is one of the genres of music that has really captured the attention of many people in the world due to the fact that it is original in all aspects of its performance. This type of music is mainly performed in the Democratic Republic of Congo mainly in Kinshasa the capital city where almost everyone has the ability to sing Graham (2009). Some claim that the Congolese use mystical powers to obtain the kind of voice that they have, others claim that it is the palm oil that they use in cooking food that softens their voices and so on. Based on these beliefs, a reliable conclusion cannot be made but the fact still remains that Lingala music is one of the best African genres of music. Lingala music is derived from the Lingala language which happens to be the second spoken national language in Congo-Kinshasa. This is a very easy language to compose a song with since it has musical intonations on its own and it is spoken mainly in Kinshasa which is the capital city, Kisangani and in the Ituri province the part of the country that is one of the richest in minerals such as gold and diamonds among others Graham (2009). Lingala language is used together with Swahili language in the Ituri province because it is also considered to be an economical language which brings traders from different parts of the country together. It is easier for Congolese to do business negotiations in Lingala because almost everyone understands the language and that a bigger percentage of elites in the country are able to communicate both in French and Lingala Anri (2005). Lingala music started in the early fifties in Congo-Kinshasa and to date it has turned up to be one of the greatest music styles among the genres of African music with great names to boast with such as Kofi Olomide, Franco and Zaiko Langa Langa among others. Lingala music performance has been able to produce other types of famous music styles such as Ndombolo which was brought to existence by Kofi Olomide in the mid-nineties and this type of music was also embraced warmly by many other West and Central African people. This genre of music involves vigorous movement of the body parts especially the waist Anri (2005). In conclusion this paper has examined world music with particular interest being place on African music. Congolese music has been used as a particular genre of African music. World music basically means traditional music from various world regions. African music is composed of many genres and styles of music which have been cultivated in the various cultures across the continent. African music has various purposes for which it is used for. Variations exist in the uses of this music but some common purposes exist. Most of Congolese musicians tend to use music productions from their own countries as compared to other African musicians. They have been improving in their production of music and they have done this through using both African traditional musical instruments and western musical instruments in their albums and that are the reason as to why their music is appreciated by all groups of people Gerhard. References Anri, H (2005). Emerging solutions for musical arts education in Africa: Pan African Society for Musical Arts Education. Congo-Kinshasa Graham, R (2009).The world of African music: Stern’s guide to contemporary African music. Pluto Press, Indiana University.. Kwesi, Y (2004). 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