Part XI Nonwestern Music

Reflects/expresses world’s diversity Each culture has its music practice Some have all 3—folk, pop, & classical These musics influence western music Especially true in the 20 th Century French composer Claude Debussy British rocker George Harrison Jazz artist John Coltrane

Ch. 1: Music in Nonwestern Cultures Characteristics of Nonwestern Music It reflects its supporting culture Frequently linked with religion, dance and drama Music notation far less important than in western culture Often used to communicate messages & relate traditions Oral Tradition 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

Improvisation is frequently basic to the music Improvisation Improvisation usually based on traditional melodic phrases and rhythmic patterns Voices Singing usually main way of making music Vocal approach, timbre, and techniques vary throughout the world Nasal sound Strained tone Throat singing Many others

Four types based upon sound production: Instruments Chordophones—stretched string Harp-type Aerophones—performer’s breath Flutes, trumpets, etc. Idiophones—instrument’s body is sound generator Bells, gongs, scrapers, rattles, etc. Style and application within culture causes particular types of instruments to dominate Idiophones/membranophones: rhythmic emphasis Aerophones aid in outdoor performance Geography & materials availability influences Strings allow great flexibility of pitch Religion also influences instrumentation Membranophones—stretched skin Primarily drums

Most nonwestern musics are monophonic Melody, Rhythm, and Texture Some cultures use heterophony Intervals between tones can be larger or smaller Much nonwestern music has very complex rhythms Sometimes accompanied by a drone Scales in nonwestern music are frequently quite different than western musical scales All perform same melody with different ornamentation

Nonwestern music has been greatly impacted by western influences due to: Interaction between Nonwestern and Western Music Spread of technology Increased urbanization Some governments subsidize traditional music to preserve cultural heritage Almost worldwide access to recorded music

Ch. 2: Music in Sub-Saharan Africa 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 Though Sub-Saharan music is diverse, there are some similarities: Complex rhythms and polyrhythms Percussive sounds Wide variety of instrumental ensembles Vocal music usually a soloist & responding chorus Below: Extremely diverse, many religions, cultures, and languages (over 700)

Music permeates African life from religion, entertainment, & magic to rites of passage Music in Society Closely associated with dancing in ceremonies, rituals, & celebrations Dancers frequently play and sing while dancing It is so interwoven into life that the abstract word “music” is not used by many peoples Music is a social activity—everyone joins in No musical notation—passed by oral tradition

Rhythm and Percussion Elements of African Music The body used as an instrument Complex rhythms & polyrhythms predominate Wide variety of sounds, even within a single piece Percussion ostinato frequently accompanies singers Dancers choose to follow any of the various rhythms Vocal Music Call and response extremely common Short musical phrases repeated to different words Clapping, stamping, slapping thigh/chest Texture Often homophonic or polyphonic Same melody often sung at many pitch levels This is unlike most nonwestern musics

Idiophones African Instruments Xylophones, a favorite, come in many sizes Most common African instrument Used in many ceremonial & work-pace applications Drums usually played in groups—multiple players Most are of indefinite pitch Membranophones Drum manufacture often accompanied by special rites Variety of shapes, sizes, and forms “Talking drum” w/ slit in side can produce 2-4 tones Aerophones and Chordophones Flutes & trumpets (of wood & horn) most common Chordophones plucked or struck, gourd resonators Reed instruments less widespread

Ch. 3: Classical Music of India 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 Performers Music viewed as a spiritual discipline Oral tradition—study by apprenticeship Improvisation Very important, sophisticated, & developed Guided by melodic & rhythmic formula Must study for years before allowed improv.

Music is based upon the human voice Elements of Indian Classical Music Melodies almost always accompanied by a drone instrument Pitch range limited to about four octaves Highly embellished melody, both vocal and instrumental, is characteristic Melody exists within a framework called a raga—a defined pattern of notes Rhythm is organized into blocks or cycles, each called a tala Melodic Structure: Raga Rhythmic Structure: Tala Tala range from beats in length 6-16 is most common

Vocal music most important in India Instruments Sitar most popular chordophone Many types of instruments Drums of many sizes Many instruments associated w/ specific gods Long necked, lute (guitar) like instrument 7 plucked strings, 9-13 sympathetically vibrating Tabla and mridangam drums most common

Listening Maru-Bihag by Ravi Shankar Basic Set, CD 8:62 Brief Set, CD 4:69 Note: Raga and tala organization Heavy reliance on stringed instruments Extensive improvisation Nonwestern musical form

Ch. 4: Koto Music of Japan The Koto Godan-Ginuta, by Mitsuzaki Kengyo Listening Outline: p. 596 Brief Set, CD 8:65