1. Nonwestern Music Reflects/expresses world’s diversity Each culture has its music practice –Some have all three—folk, pop, and classical These musics influence western music –Especially true in the twentieth century -French composer Claude Debussy -British rocker George Harrison -Jazz artist John Coltrane PART VII—NONWESTERN MUSIC

2. Chapter 1: Music in Nonwestern Cultures Characteristics of Nonwestern Music It reflects its supporting culture –Frequently linked with religion, dance and drama –Often used to communicate messages and relate traditions Chapter 1

3. Oral Tradition –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 Chapter 1

4. Improvisation Improvisation is frequently basic to the music –Improvisation usually based on traditional melodic phrases and rhythmic patterns Chapter 1

5. 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 Chapter 1

6. Instruments 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 Chapter 1

7. 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 Chapter 1

8. Melody, Rhythm, and Texture Most nonwestern musics are monophonic –Some cultures use heterophony –Sometimes accompanied by a drone -All perform same melody with different ornamentation Chapter 1

9. –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 Chapter 1

10. Interaction between Nonwestern and Western Music 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 1

11. Chapter 2: Music in Sub-Saharan Africa Africa is divided into two parts: above and below the Sahara Desert –Above: Muslim, Arabic-speaking, music closely related to that of the Middle East –Below: Extremely diverse, many religions, cultures, and languages (over 700) Chapter 2

12. 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 Chapter 2

13. Music in Society 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 Chapter 2

14. 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 Chapter 2

15. Elements of African Music 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 Chapter 2

16. Vocal Music 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 Chapter 2

17. Texture Often homophonic or polyphonic Same melody often sung at many pitch levels –This is unlike most nonwestern musics Chapter 2

18. African Instruments 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 two to four tones Chapter 2

19. Membranophones 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 Chapter 2

20. Aerophones and Chordophones Flutes and trumpets (of wood and horn) most common Chordophones plucked or struck, gourd resonators –Reed instruments less widespread Chapter 2

21. Listening Ompeh Song from central Ghana Claude Debussy Listening Outline: p. 411 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

22. Chapter 3: Classical Music of India Musical traditions date back over 3,000 years –Hindustani: secular, court music from Northern India (including present-day 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 Chapter 3

23. Performers Music viewed as a spiritual discipline Oral tradition—study by apprenticeship Chapter 3

24. Improvisation Very important, sophisticated, and developed Guided by melodic and rhythmic formula Must study for years before allowed improvise Chapter 3

25. Elements of Indian Classical Music 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 Chapter 3

26. Melodic Structure: Raga 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 Chapter 3

27. Rhythmic Structure: Tala Rhythm is organized into blocks or cycles, each called a tala –Tala range from 3-100 beats in length -6-16 is most common –Ten-beat tala jhaptal divided 2—3—2—3 |1 2 |3 4 5 |6 7 |8 9 10| –Ten-beat tala shultal divided 4—2—4 |1 2 3 4 |5 6 |7 8 9 10| Chapter 3

28. Instruments 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 Chapter 3

29. Tabla Tambura Ravi Shankar—sitar Chapter 3

30. Listening Maru-Bihag Ravi Shankar Listening Guide: p. 415 Brief Set, CD 3:69 Listen for:Raga and tala organization Heavy reliance on stringed instruments Extensive improvisation Nonwestern musical form Chapter 3