American music is a synthesis of multiple genres that all illustrate some aspect of American culture and beliefs. For this reason my presentation would include a wide variety of genres. Many times music in America tends to represent various cultures/ethnicities and even social classes. Often social change can even be documented through the music of the time. In my presentation would include eras that represented huge changes in music. Many times huge changes in music represent huge changes in history. These eras include, 1920s and jazz, folk music and 1950s, and 1970s and hip hop American music and culture can best be understood as an amalgam of numerous genres that describe many cultures and ethnicities. My presentation would also include the historical overview of each drama so that students would get a global view the roots of each drama
The roaring 20’s is an example of a time of great change in American society. The U.S. was recently involved in war and many Americans felt disillusioned at its outcome. Simultaneously, great innovations in the arts and literature were also occurring. Jazz developed during this time and was easily popularized due to its upbeat nature. The improvisation and fast tempo may have represented the need to look toward the future and break from tradition in American society. Jazz was an outlet for many people of the time; to do away with rigid structure and enjoy one’s self.
Listening Examples: Dizzy Gillespie
Billy Holiday
Folk music was another music genre that developed during a time of marked social change in American history during the 1950s and 60s. American folk music, commonly called traditional music, has been described as the music of the people; music that the local population can identify with. It has been said also that folk music is associated with a lower class in societies that are culturally and socially stratified. That is, societies which have developed an elite, and possibly also a popular, musical culture. At times folk music was music that represented oral traditions and for this reason rejected mainstream popularization for quite some time. According to sources, folk music is easily identified with the ordinary working people who created it. Folk singers are often known to comment on social issues of the time and for this reason represent the “music of the people.” Such singers as Joan Baez, Phil Ochs and Bob Dylan began writing "protest music" and topical songs, particularly against the Vietnam War, and likewise expressed in song their support for the American Civil Rights Movement during the 50s and 60s. All in all, folk music mostly represents the heart of American culture in many aspects; the "music of the common people” that has been passed on by memorization or repetition rather than by writing.
Listening Examples: Bob Dylan
Woody Guthrie
Lastly, hip hop would be discussed in my lecture on American music. This genre in particular also was a response to significant social changes for African- Americans in general. It became a form of protest and cathartic expression of many frustrations that existed in black communities. Early hip hop was even credited with helping to reduce inner-city gang violence by replacing physical violence with hip hop battles. Often dominated by African- American males, this form of music also rejected the rigid boundaries (much like folk music) that often characterized European music. Hip hop is in fact a music genre AND a cultural movement developed in urban communities.
Listening examples: Grandmaster Flash and the Furious Five
Eminem
American music can be viewed as a story book that documents social change in this country. It is important to understand this fact when listening to American types of music. Many times there is a message behind the song that gives insight into societal beliefs and preoccupations
Monday, June 4, 2007
Thursday, May 17, 2007
Gamelan
This week we focused our attention on gamelan music. We watched two videos for this week's assignment: "Ratna Ayu," performed by the California Institute of the Arts' gamelan Balinese gamelan ensemble; and "Gamelan Bali Nyepi." In the Ratna Ayu performance, both men and women played together in an ensemble that was accompanied by dance. The piece was performed in some sort of hall or performance center. The melody of the piece seemed to repeat at varios speeds. The same tempo was kept throughout the majority of the performance until a point where a sudden tempo change was signaled by cymbals. The tempo sped up and then drastically slowed down. The dancers also followed the tempo of the music with their dance moves. The dancers had very symmetrical movements as they moved across the stage floor in one tight diamond like formation.
The Gamelan Bali Nyepi piece was performed outside, which gave me a greater indication of possible improvization. I also toyed wth the idea of whether this performance was somehow more authentic than the previously mentioned Ratna Ayu, because it was not confined to a performance hall. I also did not notice any women playing with the Gamelan Bali Nyepi. The performance seemed less controlled by elements such as an on-looking audience like in the other performance. However, this piece also had varying tempos. There were times were the drums would speed up the tempo and then slow it down to a low murmur. In this latter way, the two pieces were similar. This musicians in this piece were also all seated on the ground. In the other piece there were varying levels of seated musicians. Some knelt, while other were fulled seated in the previous piece. Perhaps, the position of the musicians in Gamelan Bali Nyepi represented some sort of solidarity or unity among the people.
The Gamelan Bali Nyepi piece was performed outside, which gave me a greater indication of possible improvization. I also toyed wth the idea of whether this performance was somehow more authentic than the previously mentioned Ratna Ayu, because it was not confined to a performance hall. I also did not notice any women playing with the Gamelan Bali Nyepi. The performance seemed less controlled by elements such as an on-looking audience like in the other performance. However, this piece also had varying tempos. There were times were the drums would speed up the tempo and then slow it down to a low murmur. In this latter way, the two pieces were similar. This musicians in this piece were also all seated on the ground. In the other piece there were varying levels of seated musicians. Some knelt, while other were fulled seated in the previous piece. Perhaps, the position of the musicians in Gamelan Bali Nyepi represented some sort of solidarity or unity among the people.
Music of China
This week we discussed the music of China. Our questions come from the reading by Prof. Helen Rees. She discusses two contexts in which "authenticity" is contended. First, she describes tourists' fascination with "Ancient Naxi Music." She says that this music is not as "ancient" as it is marketed to audiences. One main reason why Rees says this is because of the commercialized nature of the concerts. The concerts were in fact advertised to tourists; this very element screams a more contemporary setting rather than heavily ancient.
In a different way, Western scholars accused the modern Chinese orchestra as not being "authentic" enough. The main element to this argument is the fact that "authentic" is a subjective term to the many Western tourists. This term is also relative to the other experiences tourists have had that have been marketed as "authentic." Various tourists had experienced concerts of brightly adorned youths prancing to pre-recorded music. In juxtaposition to the aforementioned scenario, the "Ancient Naxi Music" concert for sure seemed authentic. Rees also argues that the strongest ally to the authenticity of the concerts has NOT been its commitment to the tradtions of Naxi music. It has been the "hundreds of obviously fabricated so called "folk" or "tradtional" performances" that their audiences have experiences previous to the Naix music concert. The next question here would be whether or not these lesser forms of "authentic" music provide some sort of framework for a continuum of authenticity? In my opinion the answer is yes. There are in fact many gray areas to what we denote "authentic." Therefore even the obviously fake representations of a music culture can still provide some sort of insight into that culture's musical traditions to an outsider.
In a different way, Western scholars accused the modern Chinese orchestra as not being "authentic" enough. The main element to this argument is the fact that "authentic" is a subjective term to the many Western tourists. This term is also relative to the other experiences tourists have had that have been marketed as "authentic." Various tourists had experienced concerts of brightly adorned youths prancing to pre-recorded music. In juxtaposition to the aforementioned scenario, the "Ancient Naxi Music" concert for sure seemed authentic. Rees also argues that the strongest ally to the authenticity of the concerts has NOT been its commitment to the tradtions of Naxi music. It has been the "hundreds of obviously fabricated so called "folk" or "tradtional" performances" that their audiences have experiences previous to the Naix music concert. The next question here would be whether or not these lesser forms of "authentic" music provide some sort of framework for a continuum of authenticity? In my opinion the answer is yes. There are in fact many gray areas to what we denote "authentic." Therefore even the obviously fake representations of a music culture can still provide some sort of insight into that culture's musical traditions to an outsider.
Bollywood
This week we began a discussion of South Asian music by focusing on Carnatic or South Indian traditions that are closely related to Hindu devotional traditions. We heard presentations on Bollywood (Indian film) music and dance. Several examples of American popular culture showed influences of Bollywood. Representations of musical traditions of various cultures in mass media, exhibit the "double-edge sword" effect. American pop culture is influenced by Indian pop culture, but often times those representations are riddled with stereotypes and exoticism.
There are many examples that I have come across with some type of representation in the mass media of African- American music-culture, that I felt strongly about. Many corporations try to appeal to black consumers by using certain vernacular and music in their television commericals to sell their product. For example, African American slang and hip-hop and rhythm & blues music are used in commericials to relate to black audiences. Some commercials include products that are directly consumed by African American populations in high abundance. But others include products that corporations are trying to increase in the black community. Kool-Aid products, McDonalds, TCB Hair Products, Burger King, KFC and other chicken restaurants, have all used the above methods to appeal to African American consumers. Some commercials range from very tasteful and effective to offensive and stereotypical. At times I feel very strongly about certain commericals because they assume that the only way black people can be catered to is through hip-hop and slang. It is a one-dimensional view of my culture and I am offended at times by this. Black consumers are still consumers indeed and can be related to by good old-fashioned english and the actual pros and cons of a product. We do not have to be hoodwinked into buying a product because the background music in the commerical is hip-hop. Many forms of rap I DO NOT like and I rarely consume fried chicken, so how would a corporation appeal to me (the atypical black consumer)?? The stereotypes that are suggested by various commericals are what present problems for the representation of music cultures in mass media.
There are many examples that I have come across with some type of representation in the mass media of African- American music-culture, that I felt strongly about. Many corporations try to appeal to black consumers by using certain vernacular and music in their television commericals to sell their product. For example, African American slang and hip-hop and rhythm & blues music are used in commericials to relate to black audiences. Some commercials include products that are directly consumed by African American populations in high abundance. But others include products that corporations are trying to increase in the black community. Kool-Aid products, McDonalds, TCB Hair Products, Burger King, KFC and other chicken restaurants, have all used the above methods to appeal to African American consumers. Some commercials range from very tasteful and effective to offensive and stereotypical. At times I feel very strongly about certain commericals because they assume that the only way black people can be catered to is through hip-hop and slang. It is a one-dimensional view of my culture and I am offended at times by this. Black consumers are still consumers indeed and can be related to by good old-fashioned english and the actual pros and cons of a product. We do not have to be hoodwinked into buying a product because the background music in the commerical is hip-hop. Many forms of rap I DO NOT like and I rarely consume fried chicken, so how would a corporation appeal to me (the atypical black consumer)?? The stereotypes that are suggested by various commericals are what present problems for the representation of music cultures in mass media.
Latcho Drom
This week we began viewing a film entitled Latcho Drom ("Safe Journey"). It depicts the journey of a group of nomadic people, who eventually come to be called, usually in a derogatory manner, "gypsies." They are shown traveling from the northern part of South Asia into the Middle East and Europe. The three main scenes of music were:
1) the nomads celebrating under the full moon
2) a celebration with a couple dancing in Egypt
3) a takht ensemble playing in a teahouse in Istanbul, Turkey
The common instruments in all three scenes were the hand cymbals that the women wore. They had multiple cymbals for each ceremony shown. I also noticed lute like instruments making that infamous airy sound throughout the film. Another interesting fact was the heavy participation of the women in the musical tradition of this region. Almost every scene showed women both dancing and singing in various ceremonies/rituals. The director also depicted how the “gypsies” absorbed the various music cultures they encountered by illustrating continuous movement of the people in each scene. Each scene was connected to subsequent scenes by dancing of a little girl or woman so that we seemed to follow this little girl as she grew up or traveled. I was surprised to see the predominance of women in this society. Women seemed to have the freedom to express themselves musically, unlike other cultures were musicianship was reserved for the men. In this movie, men played and danced alongside women. Perhaps the nomadic way of life promotes the cooperative nature if this musical tradition.
Also the voices were heavily ornamented and seemed to tell a story throughout the film. Another interesting part of the film was the fact that all the ceremonies or occasions that we viewed were celebratory. I did not see any musical traditions that were associated with death, mourning or loss in general. I wondered how the gypsies in the movie dealt with loss and whether that was a musical tradition in which that both sexes participated.
1) the nomads celebrating under the full moon
2) a celebration with a couple dancing in Egypt
3) a takht ensemble playing in a teahouse in Istanbul, Turkey
The common instruments in all three scenes were the hand cymbals that the women wore. They had multiple cymbals for each ceremony shown. I also noticed lute like instruments making that infamous airy sound throughout the film. Another interesting fact was the heavy participation of the women in the musical tradition of this region. Almost every scene showed women both dancing and singing in various ceremonies/rituals. The director also depicted how the “gypsies” absorbed the various music cultures they encountered by illustrating continuous movement of the people in each scene. Each scene was connected to subsequent scenes by dancing of a little girl or woman so that we seemed to follow this little girl as she grew up or traveled. I was surprised to see the predominance of women in this society. Women seemed to have the freedom to express themselves musically, unlike other cultures were musicianship was reserved for the men. In this movie, men played and danced alongside women. Perhaps the nomadic way of life promotes the cooperative nature if this musical tradition.
Also the voices were heavily ornamented and seemed to tell a story throughout the film. Another interesting part of the film was the fact that all the ceremonies or occasions that we viewed were celebratory. I did not see any musical traditions that were associated with death, mourning or loss in general. I wondered how the gypsies in the movie dealt with loss and whether that was a musical tradition in which that both sexes participated.
Wednesday, May 16, 2007
Eastern European Music
This week in class, we watched the rest of the film, Latcho Drom. It portrayed the Roma peoples' movement from the Middle East into Eastern Europe. The musical tradition of these people was quite interesting. I noticed the use of the sanzur in the movie. This instrument gives off a sound very similar to that of a western piano. Musicians hold elongated pick-like tools in their hand to stroke the strings of the sanzur. There was also a case in the movie where an older man was playing a violin -like instrument. He used one string to make sound by pulling the string in a standardized way. The sound was quite harsh and rigid and I was comforted when he began using the bow to play the strings.
The sanzur was a familiar instrument because it sounded much like a western piano. However, when the older man began playing the one string of the violin, the sound was harsh enough for me to question whether or not what he was producing was in fact music. I began to wonder if a sound suddenly became meaningless if its timbre was not smooth or soothing. My ears were obviously not tuned to the characteristics of eastern European music. However, it is increasingly important to keep in mind that the musical traditions of various parts of the world are an amalgam of various musical traditions blended together. As a result, no one culture is so isolated that it has not been influenced by another nearby or even far away music-culture. Therefore, it seems easy to understand how music that may seems so far away can be relatable to even the most western ear.
The sanzur was a familiar instrument because it sounded much like a western piano. However, when the older man began playing the one string of the violin, the sound was harsh enough for me to question whether or not what he was producing was in fact music. I began to wonder if a sound suddenly became meaningless if its timbre was not smooth or soothing. My ears were obviously not tuned to the characteristics of eastern European music. However, it is increasingly important to keep in mind that the musical traditions of various parts of the world are an amalgam of various musical traditions blended together. As a result, no one culture is so isolated that it has not been influenced by another nearby or even far away music-culture. Therefore, it seems easy to understand how music that may seems so far away can be relatable to even the most western ear.
Thursday, April 12, 2007
Identity
There are many instances in which I feel both an insider and an outsider simulataneously. The term African-American itself is a defintive term that basically describes the aforementioned feeling. As a UCLA student I am a part of a large population of individuals that have been inducted into the so called "bruin faimly." All of us bruins no everything about student life, academics, campus life, student organizations, etc at UCLA. We are all experts on UCLA. In that way, I am very much an insider. However, upon closer inspection I belong to a ethnic group on campus that is underrepresented not only throughout the country but specifically at UCLA. With the current enrollment of less than 3% African- Americans at UCLA, I cannot help but feel like an outsider as well. There are multiple ways that I identify with others at UCLA. One way of identifying is my major, another is my minor, as well as all of my interests from dance to singing. So while I am an insider in the various interests and common career goals that I share with others, I still feel very much like an outsider due to race. It is a good thing that race is not the only way to identify with others.
Various contexts mandate that I accentuate or exemplify different parts of my identity. This is similar to anyone who has ever gone on a job interview and must present themselves in a certain way to "identify" with a particular company. I am involved in many different organzations that spotlight various parts of my identity. I am very spiritual and consequently am an avid church member. Spirituality is on portion of my identity and when I am in church especially I feel very comfortable in participating in worship services and other activities that underscore my faith. Outside of church I have various personal rituals that I do, but perhaps they are not apparent to the public eye because I am not in the company of others that may share that same spiritual identity. Or perhaps those practices are apparent but seem weird or peculiar to others who do not identify in the same way. Another context is south campus in general. Another portion of my identity is my academic identity. I am a biology major and and a pre-medical student. In this way, I am able to communicate with other science majors on campus in a way that perhaps I cannot with other majors. Because of our common understanding of sciences, and allied health career goals, my interest in science is accentuated while I am on the southern portion of campus. This identity again becmoes more apparent when other science majors are around. Yet, another illustration of the different parts of my identity being displayed are cultural. As an African- American there are a plethora of traditions, customs, and beliefs that I share with other African-Americans in general. Food, clothing, language, interests, and even family life are all examples of ways that I identify with other African- Americans. Again, this identity always exists but can be accentuated at cultural events or shows, certain neighborhoods or various organizations that have a particular African- American interest.
In all of the previous ways various portions of my identity are illustrated across a wide variety of both overlapping and non-overlapping contexts. I believe that everyone experiences both the outsider and insider role. I believe it is human nature that makes us distinguish ourselves from others. There are times however, that we empower ourselves through uniting in common interests, while excluding others. We have to struggle to find a balance, where we can articulate commonality while celebrating our differences.
Various contexts mandate that I accentuate or exemplify different parts of my identity. This is similar to anyone who has ever gone on a job interview and must present themselves in a certain way to "identify" with a particular company. I am involved in many different organzations that spotlight various parts of my identity. I am very spiritual and consequently am an avid church member. Spirituality is on portion of my identity and when I am in church especially I feel very comfortable in participating in worship services and other activities that underscore my faith. Outside of church I have various personal rituals that I do, but perhaps they are not apparent to the public eye because I am not in the company of others that may share that same spiritual identity. Or perhaps those practices are apparent but seem weird or peculiar to others who do not identify in the same way. Another context is south campus in general. Another portion of my identity is my academic identity. I am a biology major and and a pre-medical student. In this way, I am able to communicate with other science majors on campus in a way that perhaps I cannot with other majors. Because of our common understanding of sciences, and allied health career goals, my interest in science is accentuated while I am on the southern portion of campus. This identity again becmoes more apparent when other science majors are around. Yet, another illustration of the different parts of my identity being displayed are cultural. As an African- American there are a plethora of traditions, customs, and beliefs that I share with other African-Americans in general. Food, clothing, language, interests, and even family life are all examples of ways that I identify with other African- Americans. Again, this identity always exists but can be accentuated at cultural events or shows, certain neighborhoods or various organizations that have a particular African- American interest.
In all of the previous ways various portions of my identity are illustrated across a wide variety of both overlapping and non-overlapping contexts. I believe that everyone experiences both the outsider and insider role. I believe it is human nature that makes us distinguish ourselves from others. There are times however, that we empower ourselves through uniting in common interests, while excluding others. We have to struggle to find a balance, where we can articulate commonality while celebrating our differences.
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