13 VII Nonwestern

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Part VII: Nonwestern Music Presentation Development: Robert Elliott These materials for use only in courses taught at

Nonwestern Music: 

An Appreciation Nonwestern Music PART VII—NONWESTERN MUSIC Reflects/expresses world’s diversity Each culture has its music practice Some have all three—folk, pop, andamp; classical

Nonwestern Music: 

An Appreciation Nonwestern Music PART VII—NONWESTERN MUSIC Reflects/expresses world’s diversity Each culture has its music practice Some have all three—folk, pop, andamp; classical These musics influence western music Especially true in the 20th Century French composer Claude Debussy British rocker George Harrison Jazz artist John Coltrane

Chapter 1: Music in Nonwestern Cultures: 

An Appreciation Chapter 1: Music in Nonwestern Cultures PART VII—NONWESTERN MUSIC Characteristics of Nonwestern Music It reflects its supporting culture Frequently linked with religion, dance and drama Often used to communicate messages and relate traditions

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An Appreciation Oral Tradition CHAPTER 1—MUSIC IN NONWESTERN CULTURES Music notation far less important than in western culture Frequently transmitted by oral tradition Many cultures do not have a music notation When they do, it serves as a record, not for teaching or performance

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An Appreciation Improvisation CHAPTER 1—MUSIC IN NONWESTERN CULTURES Improvisation is frequently basic to the music Improvisation usually based on traditional melodic phrases and rhythmic patterns

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An Appreciation Voices CHAPTER 1—MUSIC IN NONWESTERN CULTURES Singing usually main way of making music Vocal approach, timbre, and techniques vary throughout the world Nasal sound Strained tone Throat singing Many others

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An Appreciation Instruments CHAPTER 1—MUSIC IN NONWESTERN CULTURES Four types based upon sound production: Membranophones—stretched skin Primarily drums

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An Appreciation Instruments CHAPTER 1—MUSIC IN NONWESTERN CULTURES Four types based upon sound production: Chordophones—stretched string Harp-type Membranophones—stretched skin Primarily drums Koto— from Japan Sitar—from India

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An Appreciation Instruments CHAPTER 1—MUSIC IN NONWESTERN CULTURES Four types based upon sound production: Chordophones—stretched string Harp-type Aerophones—performer’s breath Flutes, trumpets, etc. Membranophones—stretched skin Primarily drums

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An Appreciation Instruments CHAPTER 1—MUSIC IN NONWESTERN CULTURES Four types based upon sound production: Chordophones—stretched string Harp-type Aerophones—performer’s breath Flutes, trumpets, etc. Idiophones—instrument’s body is sound generator Bells, gongs, scrapers, rattles, etc. Membranophones—stretched skin Primarily drums

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An Appreciation CHAPTER 1—MUSIC IN NONWESTERN CULTURES Style and application within culture causes particular types of instruments to dominate Idiophones/membranophones: rhythmic emphasis Aerophones aid in outdoor performance Geography and materials availability influences Strings allow great flexibility of pitch Religion also influences instrumentation

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An Appreciation Melody, Rhythm, and Texture CHAPTER 1—MUSIC IN NONWESTERN CULTURES Most nonwestern musics are monophonic Some cultures use heterophony Sometimes accompanied by a drone All perform same melody with different ornamentation

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An Appreciation CHAPTER 1—MUSIC IN NONWESTERN CULTURES Intervals between tones can be larger or smaller Much nonwestern music has very complex rhythms Scales in nonwestern music are frequently quite different than western musical scales

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An Appreciation Interaction between Nonwestern and Western Music CHAPTER 1—MUSIC IN NONWESTERN CULTURES Nonwestern music has been greatly impacted by western influences due to: Spread of technology Increased urbanization Some governments subsidize traditional music to preserve cultural heritage Almost worldwide access to recorded music

Chapter 2: Music in Sub-Saharan Africa: 

An Appreciation Chapter 2: Music in Sub-Saharan Africa PART VII—NONWESTERN MUSIC Africa is divided into two parts: above and below the Sahara desert Above: Moslem, Arabic-speaking, music closely related to that of the Middle East Below: Extremely diverse, many religions, cultures, and languages (over 700)

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An Appreciation CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Though Sub-Saharan music is diverse, there are some similarities: Complex rhythms and polyrhythms Percussive sounds Wide variety of instrumental ensembles Vocal music often a soloist and responding chorus

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An Appreciation Music in Society CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Music permeates African life from religion, entertainment, and magic to rites of passage It is so interwoven into life that the abstract word 'music' is not used by many peoples

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An Appreciation CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Closely associated with dancing in ceremonies, rituals, and celebrations Dancers frequently play and sing while dancing

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An Appreciation CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Closely associated with dancing in ceremonies, rituals, and celebrations Dancers frequently play and sing while dancing Music is a social activity—everyone joins in

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An Appreciation CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Closely associated with dancing in ceremonies, rituals, and celebrations Dancers frequently play and sing while dancing Music is a social activity—everyone joins in No musical notation—passed by oral tradition

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An Appreciation Elements of African Music CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Rhythm and Percussion The body used as an instrument Complex rhythms and polyrhythms predominate Dancers choose to follow any of the various rhythms Clapping, stamping, slapping thigh/chest

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An Appreciation Vocal Music CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Wide variety of sounds, even within a single piece Percussion ostinato frequently accompanies singers Call and response extremely common Short musical phrases repeated to different words

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An Appreciation Texture CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Often homophonic or polyphonic Same melody often sung at many pitch levels This is unlike most nonwestern musics

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An Appreciation African Instruments CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Idiophones Xylophones, a favorite, come in many sizes Most common African instrument Most are of indefinite pitch 'Talking drum' with slit in side can produce 2-4 tones

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An Appreciation Membranophones CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Used in many ceremonial and work-pace applications Drums usually played in groups—multiple players Drum manufacture often accompanied by special rites Variety of shapes, sizes, and forms

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An Appreciation Aerophones and Chordophones CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA Flutes and trumpets (of wood and horn) most common Chordophones plucked or struck, gourd resonators Reed instruments less widespread

Listening: 

An Appreciation Listening Ompeh Song from central Ghana Listening Outline: p. 405 Brief Set, CD 4:66 Music of the Akan-speaking peoples in Ghana. Listen for: Call and response Solo vocalist and chorus Percussion ensemble CHAPTER 2—MUSIC IN SUB-SAHARAN AFRICA

Chapter 3: Classical Music of India: 

An Appreciation Chapter 3: Classical Music of India PART VII—NONWESTERN MUSIC Musical traditions date back over 3,000 years Hindustani: secular, court music from Northern India (including now-Pakistan) Karnatak: temple music from South India Absorbed many Persian elements due to Muslim Persian rulers Two main types of classical music Developed along its own lines

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An Appreciation Performers CHAPTER 3—CLASSICAL MUSIC OF INDIA Music viewed as a spiritual discipline Oral tradition—study by apprenticeship

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An Appreciation Improvisation CHAPTER 3—CLASSICAL MUSIC OF INDIA Very important, sophisticated, and developed Guided by melodic and rhythmic formula Must study for years before allowed improvise

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An Appreciation Elements of Indian Classical Music CHAPTER 3—CLASSICAL MUSIC OF INDIA Music is based upon the human voice Melodies almost always accompanied by a drone instrument Pitch range limited to about four octaves Highly embellished melody, both vocal and instrumental, is characteristic

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An Appreciation Melodic Structure: Raga CHAPTER 3—CLASSICAL MUSIC OF INDIA Melody exists within a framework called a raga—a defined pattern of notes Each raga has an ascending and descending form The melody 'colors the mind' Raga means 'color' or 'atmosphere' Each raga associated with a particular mood Also linked with gods, seasons, festivals, and times of day

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An Appreciation Rhythmic Structure: Tala CHAPTER 3—CLASSICAL MUSIC OF INDIA Rhythm is organized into blocks or cycles, each called a tala Tala range from 3-100 beats in length 6-16 is most common 10-beat tala jhaptal divided 2—3—2—3 |1 2 |3 4 5 |6 7 |8 9 10| 10-beat tala shultal divided 4—2—4 |1 2 3 4 |5 6 |7 8 9 10|

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An Appreciation Instruments CHAPTER 3—CLASSICAL MUSIC OF INDIA Vocal music most important in India Many types of instruments Many instruments associated with specific gods Sitar most popular chordophone Drums of many sizes Long necked, lute (guitar) like instrument 7 plucked strings, 9-13 sympathetically vibrating Tabla and mridangam drums most common

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An Appreciation CHAPTER 3—CLASSICAL MUSIC OF INDIA Tabla Tambura Ravi Shankar—sitar

Listening: 

An Appreciation Listening Maru-Bihag Ravi Shankar Listening Guide: p. 411 Brief Set, CD 3:69 Listen for: Raga and tala organization Heavy reliance on stringed instruments Extensive improvisation Nonwestern musical form CHAPTER 3—CLASSICAL MUSIC OF INDIA Performance Profile: Ravi Shankar, sitarist Listen for performer’s interpretation as he attempts 'to take the audience along with me deep inside, as in meditation, to feel the sweet pain of trying to reach out for the supreme, to bring tears to the eyes, and to feel totally peaceful and cleansed.'