9/27/08
-arrive at OSBC at 11:30 for choir rehearsal. I hover outside the door of the rehearsal, and Michelle, the woman I spoke with last time, sees me and waves to me to come in
-There are seven people in the room besides me. Michelle introduces me and asks me to explain my purpose. I tell everyone I am a music student at Brown and I am doing a project on the music of the church for one of my classes. Some nod and smile and welcome me.
-I take a seat in the second row. The woman at the piano gets up and leaves the room, and the rest start discussing a surprise celebration they are having for her because she is the founder of the choir. She comes back and sits at the piano, and everyone changes the subject to the music.
-two more people enter. Michelle shouts out to them to introduce me. Besides me, there are 8 women and one man.
-we begin with prayer. a woman holds out her hand to me and we all form a circle holding hands. The pianist plays chords in a 3/4 meter along the lines of a VI (2, 3), IV (2, 3), IV (2) V, I (2,3). A woman begins to say a personalized prayer to God, and asks Him to bless the choir. During this, some people are humming, some mumble words of approval or "amen"'s.
-Michelle invites me to sing with the choir, and beckons me to sit in the front row. I agree, and a woman asks if I am an alto. I say I am, and she says she just knew it. I laugh and ask her how she could tell. She says sometimes she can just tell these things. She laughs then and says something like "we just need more altoes, some of them aren't here today." (I can't remember this woman's name and was too embarraced to ask again because everyone remembered my name, so for now I will just call her A.)
-The pianist calls out a song, and Michelle starts assuring me that it is easy and I'll catch on. A woman in the soprano section says she has music, and shuffles through her things, but the song has started and she can't find it.
-I listen through one verse and chorus, and pick it up pretty quickly. Michelle is calling out the words before each verse, for my benefit, it seems, because she is looking right at me with a sort of direction or indication in her eye.
-We sing about four more songs, all with this same process in which I listen and then join in, and Michelle is concerned that I am understanding how the part goes.
-The tenors are having trouble finding some of their notes. The pianist often asks them to step up to the piano and sing. There is one note in particular in the last song that they just cannot seem to get. The pianist has them sing it by themselves, and with the rest of the choir. She begins to get frustrated and starts banging the correct note on the paino, because every time they sing their line with the choir, they sing the wrong note. One tenor (one of two women, there is also the man) laughs and says something like "well if that is the right note that's not what we've been singin' all these years." I smile at her. The pianist ignores the comment and continues to play the transition from the note preceding the wrong note to its correction on the piano.
-between songs, A, who is on my right, makes various comments to me. Before about half of the songs, she whispers "I'm not to sure about this one" and giggles. I smile back at her and say "we're in the same boat" or something like that. Once she asks me if I am in the choir at Brown, to which I say no, I just transferred here and am still figuring things out. She later asks me if I'll sing with them two sundays from now, and I say yes not really thinking if this is a realistic possibility.
-Michelle, on my left, also talks to me between songs. She gives me little anecdotes about the choir, and seems very excited to have someone to tell these things to. One thing she tells me is that there is a sort of giant Gospel concert for multiple Gospel choirs including this one held at OSBC on Oct. 25. She tells me I am welcome to sing with the choir. I thank her, saying I would love to but meaning it in a sort of "that's a nice idea, I'll think about it" way but she stands up and asks everyone if it would be OK if I sing with them at this concert. A pipes in and says "she already agreed to!" The pianist gives a nod, but I am nervous that I am intruding and I cannot actually see the pianist (who is also the founder and choir director). I fear she nodded because she felt she had to, since I was sitting right there when she was asked.
-Before the last song, we stop for announcements. People begin discussing drapes that need to be replaced, and donations. Again, the Golden tin is braught out and people pull out donations. I awkwardly find my purse and open my wallet, only to find it is empty. I sigh and look at Michelle and appologize, and she stops me and says something like "you're singing with us, that's enough of a donation. We're just happy to have your voice." A nods in agreement, I thank them.
-We join hands in a circle for the last song. Then it turns into a prayer, in which the pianist is playing background chords similarly to the first prayer. People begin going around the circle, voicing their personal prayers. One woman is so emotional while she says her prayer that she almost breaks into tears. I start to get extremely nervous that I will be asked to do this. It gets to be my turn, and Michelle whispers and asks me if I'd like to, and I give an awkward smile and shake my head no. She pauses for a moment, and nods, and the prayer goes to the next person. I feel very uncomfortable, but nothing else was said about it. I feel that saying a prayer to "Jesus" would really be crossing a line of inappropriateness, since I don't share these religious beliefs. At the end, people begin to file out. The pianist, whose face I haven't seen yet, turns around, smiles at me, and hugs me and thanks me for singing with the choir. I am thrilled at this acceptance, hug her back, and thank her for having me. A does the same, and I thank her. Michelle asks for my email address, and I write it down. She explains that the Gospel event on the 25th is a celebration of the choir's 15 years. I ask if she has been in the choir for this long, and she said she has been there since the beginning. At first, she tells me, the choir had about 50 people but people moved, etc. and now they are trying to build it back up. She then hugs me, thanks me, and I thank her and leave.
-I am beginning to walk back to campus, but it is raining. A, who is sitting in her car parked on Olney Street, calls out to me and asks if I would like a ride. I decline politely at first, but she insists, so I cross the street. It is raining.
-During the carride, A explains again that the choir used to be bigger, and used to have more young people (I would estimate that no one was under 45) but they all went off to college or other places.
-She told me how much the music meant to her, and how much it lifted her up. I agreed that the music was very powerful. -And then she asked the question I had been dreading since I chose this topic for my project: "Are you a Christian?" I pause, and say "Actually, I'm not. I'm technically Jewish, but I sort of have my own religous beliefs. I'm still young, you know, and trying to figure out what's out there..." She smiles and nods, as if she understands. I wait to see how this will be received.
-She tells me that Jewish tradition is similar to Christian, and a lot of the songs have reference to the Old Testiment, which is true. (Slave spirituals especially referenced the Old Testiment when slaves were converted to Christianity, because the condition of the Israelites, who, according to the belief, were also enslaved, was relatable to the slave condition.)
-She tells me she was asking me because she saw that I was really into the music, and was uplifted by it the way she was.
I explain that even if I can't relate to a specific name, I still feel the power of the music because I can relate it to a higher power I believe in. I tell her I love Gospel Music, which is true, and she is delighted.
-She tells me it doesn't really matter if I can't relate to a specific name or religion, because with Gospel Music, people just feel the power of the "spirit." We are all spirits, she says, and we feel a connection to something more, to some kind of higher power. I verbally agree, even if I am not sure I actually completely agree. I try to encourage this thought by telling her that in some reading I have done, there are accounts of people who went to study Gospel Music and were so empowered by it that they couldn't help but join in.
-She continues to tell me that Gospel Music evolved out of slave spirituals, and that this music is what has carried African Americans through.
-We have mostly silence for the rest of the ride, I get out and thank her several times.
Saturday, September 27, 2008
Wednesday, September 24, 2008
SEM Write-Up
I was interested in the article Ethnomusicology, Its Problems and Methods by Mieczyslaw Kolinski from May 1957. In many ways, I was surprised by the extent of the author’s dedication to maintaining an unbiased view as an Ethnomusicologist, as I expected less because of the date of the article. He criticizes the work of Erich von Hornbostel for concluding that certain forms of world music were inferior to European music. He notes some flaws of comparative musicology, which focuses mainly on how music from different cultures differs rather than finding common threads among cultures other than among those that are ethnically closely related. While his criticisms and suggestions of open-mindedness are progressive and reflect the values and morals of unbiased Ethnomusicology, there are several points in the article that fail to convey this message or need more work.
Kolinski describes how Hornbostel saw non-European music as inferior to European music because the former had descending melodic trends and the latter had ascending melodic trends. Kolinski devalues this claim by describing examples of countries, both European and non-European, in which an average was taken of the actual degrees that music ascends and descends in music. His conclusion was that European music actually descends with similar degrees to non-European music. However, Kolinski fails to recognize that the actual idea that ascending melodic pattern is superior to descending is a bias itself and is only valued in certain cultures and contexts. By proving that European and non-European music have degrees that ascend and descend similarly, he is indirectly acknowledging that ascending patterns are, in fact, superior because he is not refuting or contextualizing this idea. Also, it seems unrealistic and biased to categorize all music into European and non-European music, especially since both Europe and everything outside of Europe are made up of many different countries and cultures. In his proof of degrees, Kolinski gives examples of some European and some non-European countries, but, especially concerning non-European countries, there are so many different cultures out there that it would be extremely bias to assume that a small representation of countries could represent the entire rest of the world. What about how the music of those countries compares to or differs from each other? I don’t believe one can classify an entire region made up of countless cultures as having one kind of music or another.
Kolinski attempts to criticize another of Hornbostel’s biased ideas relating to the supposedly inferior intervals used in “Negro” and “Indian” songs. Again, Kolinski acknowledges that this is bias, but tries to refute this idea not by stating that Hornbostel’s opinions are influenced by his own cultural ideals, but by claiming that the intervals Hornbostel described are not actually those used in “Negro” and “Indian” songs. Also, while Kolinski describes different intervals used in these songs, he fails to give examples and his arguments indicate that all “Negro” and “Indian” songs use these intervals, which, without extensive evidence, would be an audacious assumption.
To Kolinski’s credit, he does provide a reflection on his own work at the end, but it would have been helpful to see more of this throughout the paper. Generally, he fails to provide any evidence for his claims or give us any background details on where he is getting his information. I have drawn the assumption that he is of similar cultural background to his critiqued Hornbostel because instead of explaining why Hornbostel might have certain ideas about inferiority and superiority and why it is important to recognize his work as biased, Kolinski simply tries to disprove Hornbostel’s theories. Overall, I was impressed with Kolinski’s general attitude of assigning equal value to the music of all cultures, but he would still have much work to do in order to remain unbiased.
Kolinski describes how Hornbostel saw non-European music as inferior to European music because the former had descending melodic trends and the latter had ascending melodic trends. Kolinski devalues this claim by describing examples of countries, both European and non-European, in which an average was taken of the actual degrees that music ascends and descends in music. His conclusion was that European music actually descends with similar degrees to non-European music. However, Kolinski fails to recognize that the actual idea that ascending melodic pattern is superior to descending is a bias itself and is only valued in certain cultures and contexts. By proving that European and non-European music have degrees that ascend and descend similarly, he is indirectly acknowledging that ascending patterns are, in fact, superior because he is not refuting or contextualizing this idea. Also, it seems unrealistic and biased to categorize all music into European and non-European music, especially since both Europe and everything outside of Europe are made up of many different countries and cultures. In his proof of degrees, Kolinski gives examples of some European and some non-European countries, but, especially concerning non-European countries, there are so many different cultures out there that it would be extremely bias to assume that a small representation of countries could represent the entire rest of the world. What about how the music of those countries compares to or differs from each other? I don’t believe one can classify an entire region made up of countless cultures as having one kind of music or another.
Kolinski attempts to criticize another of Hornbostel’s biased ideas relating to the supposedly inferior intervals used in “Negro” and “Indian” songs. Again, Kolinski acknowledges that this is bias, but tries to refute this idea not by stating that Hornbostel’s opinions are influenced by his own cultural ideals, but by claiming that the intervals Hornbostel described are not actually those used in “Negro” and “Indian” songs. Also, while Kolinski describes different intervals used in these songs, he fails to give examples and his arguments indicate that all “Negro” and “Indian” songs use these intervals, which, without extensive evidence, would be an audacious assumption.
To Kolinski’s credit, he does provide a reflection on his own work at the end, but it would have been helpful to see more of this throughout the paper. Generally, he fails to provide any evidence for his claims or give us any background details on where he is getting his information. I have drawn the assumption that he is of similar cultural background to his critiqued Hornbostel because instead of explaining why Hornbostel might have certain ideas about inferiority and superiority and why it is important to recognize his work as biased, Kolinski simply tries to disprove Hornbostel’s theories. Overall, I was impressed with Kolinski’s general attitude of assigning equal value to the music of all cultures, but he would still have much work to do in order to remain unbiased.
Sunday, September 21, 2008
Fieldwork Project, 1
Fieldwork Topic: Gospel Music, specifically at Olney Street Baptist Church
Notes:
*Note about notes: It was difficult to record detailed notes of occurances and I missed several songs and song titles. I felt I was being rude by writing while the service was going on, so I made quick and vague notes when I felt I wouldn't be drawing attention to what I was doing. I chose not to bring an audio recorder because I wasn't sure if that would be appropriate, but next time I think I will bring one and ask beforehand if I can use it.
-Welcomed into service before I had chance to explain my mission, about 25 people present scattered throughout benches
-service began with congregation singing two songs from The New National Baptist Hymnal (162 Pass Me Not, 164 I Have Declined to Follow Jesus), accompanied by piano and led by elderly female cantor. Most of the hymns in this book are musically written out in two- or three-part harmonies, but people are often flexible with the harmonies and melodies. Various people will also periodically raise their voices above others in both pitch and volume to sing a solo line. None of the changes in harmony or solo create dissonance
-Most in congregation sing, some clap, about two-thirds know songs without reading from book
-Woman stands after song to announce her thanks to God that her brother is doing well, followed by multiple "amen"'s
-Begin song "In the Name of Jesus," starts with only pianist, more people file into church, talk with each other, shake hands or hug
-Cantor begins to sing and starts walking and touching hands and finally takes a seat within the congregation
-song continues, people chime in here and there while still talking and greeting each other
-The next is an unnanounced song everyone seems to know by heart that makes reference to soldiers, and a group of six uniformly dressed middle-aged men enter through the door and walk up the aisle while singing, eventually taking seat in front row
-The six men get up in front of all to sing next song, one man sings first, others join in in responsive harmony, sort of call-and-response, met by scattered shouts of approval from audience
-break from singing, someone takes microphone and asks that anyone who is a guest or visiting for the first time please stand and say your name and church affiliation. I automatically stand, but then regret it, as I have no church affiliation and do not want to be mistaken for appreciating the service in a way I cannot based on my own religious views. It is too late, though, and the mic is passed to me, so I state my name and say I am "just visiting," and make some sort of awkward, uncomfortable giggle. To my relief, no one questions me; people just smile and say "welcome." I sit down.
*From this point on, the order of things is a bit confused, as I was scribbling notes on the program in all different angles and in no particular order, but I will try to recreate the order as accurately as possible.
-Pastor begins singing song a capella, others join, initially in various keys which makes the song sound very offtune. Pianist struggles to find chords that will match, eventually everything comes together
-Various people stand up to make announcements (events, ask people to accept church positions if asked, present a format for what is hoped to be a church newsletter, etc.)
-Pastor names sort of goal for day: "What to do when what you're doing isn't working." Explains that sometimes its hard to let go of old methods, but we have to realize that times change and methods must change accordingly, and it is insanity to keep trying something that isn't working. He gives an example of a story from the Bible in which different tribes in Israel are at war, the "good" side is losing so they pray to God for another way and God gives them a winning strategy
-Begin singing "When the Saints go Marching In," women wearing white walk through Aisles with gold tins collecting money. I feel obligated and pull out a dollar, and look around anxiously trying to find who I should give it to. A woman taps me from behind and smiles, holding out the tin, and I put in the dollar
-Song 309 "Higher Ground" is sung by all, and Pastor asks that everyone start singing with just one hand up while we remain singing. When the lyrics say "stand," we are all instructed to stand. We repeat this song several times while swaying.
-two people I did not see in the audience before, a man and a woman, walk up the Aisle hastilly, and the Pastor explains that one can be saved just by accepting Jesus as their savior. The two people stand right in front of the Pastor, facing him and with their backs to us, and we are instructed to recite something in the book. I begin to recite, but then feel uncomfortable and stop as I'm not sure what is going on. After, the Pastor whispers things to each person, and the retreat to the back hastily, the woman with tears in her eyes
-everyone sings "This Little Light of Mine"
-Closing song, all hold hands and sway, and say "bless you" afterward
-service ends, I shake hands with Pastor and he inquires if I am a Brown student, and I confirm. I go downstairs to reception to seek someone I can speak with about my project, and am met with many "welcome"'s and "please come back again"'s
Reflection on experience:
I found that I was more uncomfortable with myself than others were with me being there. The real source of my discomfort was that I felt sort of guitly for participating in something that means so much to others around me, but that I do not share this meaning and belief. At the end, when people held hands and said "bless you" to eachother, including to me, I said it back, but I felt sort of wrong about it because I can't mean it the way those who follow this religion do. This presents me with a delema I have still not solved: When being a participant-observer, is it more respectful to attempt to blend in and participate and do or say what those around you are doing, regardless of whether or not the words have meaning to you? Or is it more respectful to refrain from saying certain phrases, thus confirming that saying the words is a powerful and meaningful action, and the sacredness should not be diminished by people who just throw them around but don't personally believe in them? I wish I had a chance to explain my true intentions prior to attending service, but I will make an effort to clarify next time.
I did, however, make an effort to participate in hymns and songs when lyrics were available, and I found that the more I actually participated rather than observed, the more I found myself getting into the service and the pastor's charismatic stories and words. I found myself nodding along with everyone else without even realizing. I found the "silent" prayer to be particularly interesting, which I also participated in (although, as I said, I am not a Christian Baptist, I channelled my prayer energy to my own higher-power beliefs). The piano played chords in the background (3/4 meter, pattern of I, IV, V IV V, I) had a significant effect on my emotional levels during the prayer, which I found fascinating. I almost started tearing up, which is unlike me. Music is very powerful.
Further Questions:
The majority of the service consisted of music rather than speech. Does the music express the religious sentiments of the members of the church more precisely than speech? Why is this music meaningful for the church members? In what ways do the specific musical qualities of the hymns both influence and represent emotion?
How many of the particpants in singng actually read music? For those who have memorized songs, how did this happen? Where these hymns passed through families, or have certain members experienced specific hymns in church(es) since childhood? Do members have musical background, as certain harmonically pleasing improvisations would seem to indicate?
Notes:
*Note about notes: It was difficult to record detailed notes of occurances and I missed several songs and song titles. I felt I was being rude by writing while the service was going on, so I made quick and vague notes when I felt I wouldn't be drawing attention to what I was doing. I chose not to bring an audio recorder because I wasn't sure if that would be appropriate, but next time I think I will bring one and ask beforehand if I can use it.
-Welcomed into service before I had chance to explain my mission, about 25 people present scattered throughout benches
-service began with congregation singing two songs from The New National Baptist Hymnal (162 Pass Me Not, 164 I Have Declined to Follow Jesus), accompanied by piano and led by elderly female cantor. Most of the hymns in this book are musically written out in two- or three-part harmonies, but people are often flexible with the harmonies and melodies. Various people will also periodically raise their voices above others in both pitch and volume to sing a solo line. None of the changes in harmony or solo create dissonance
-Most in congregation sing, some clap, about two-thirds know songs without reading from book
-Woman stands after song to announce her thanks to God that her brother is doing well, followed by multiple "amen"'s
-Begin song "In the Name of Jesus," starts with only pianist, more people file into church, talk with each other, shake hands or hug
-Cantor begins to sing and starts walking and touching hands and finally takes a seat within the congregation
-song continues, people chime in here and there while still talking and greeting each other
-The next is an unnanounced song everyone seems to know by heart that makes reference to soldiers, and a group of six uniformly dressed middle-aged men enter through the door and walk up the aisle while singing, eventually taking seat in front row
-The six men get up in front of all to sing next song, one man sings first, others join in in responsive harmony, sort of call-and-response, met by scattered shouts of approval from audience
-break from singing, someone takes microphone and asks that anyone who is a guest or visiting for the first time please stand and say your name and church affiliation. I automatically stand, but then regret it, as I have no church affiliation and do not want to be mistaken for appreciating the service in a way I cannot based on my own religious views. It is too late, though, and the mic is passed to me, so I state my name and say I am "just visiting," and make some sort of awkward, uncomfortable giggle. To my relief, no one questions me; people just smile and say "welcome." I sit down.
*From this point on, the order of things is a bit confused, as I was scribbling notes on the program in all different angles and in no particular order, but I will try to recreate the order as accurately as possible.
-Pastor begins singing song a capella, others join, initially in various keys which makes the song sound very offtune. Pianist struggles to find chords that will match, eventually everything comes together
-Various people stand up to make announcements (events, ask people to accept church positions if asked, present a format for what is hoped to be a church newsletter, etc.)
-Pastor names sort of goal for day: "What to do when what you're doing isn't working." Explains that sometimes its hard to let go of old methods, but we have to realize that times change and methods must change accordingly, and it is insanity to keep trying something that isn't working. He gives an example of a story from the Bible in which different tribes in Israel are at war, the "good" side is losing so they pray to God for another way and God gives them a winning strategy
-Begin singing "When the Saints go Marching In," women wearing white walk through Aisles with gold tins collecting money. I feel obligated and pull out a dollar, and look around anxiously trying to find who I should give it to. A woman taps me from behind and smiles, holding out the tin, and I put in the dollar
-Song 309 "Higher Ground" is sung by all, and Pastor asks that everyone start singing with just one hand up while we remain singing. When the lyrics say "stand," we are all instructed to stand. We repeat this song several times while swaying.
-two people I did not see in the audience before, a man and a woman, walk up the Aisle hastilly, and the Pastor explains that one can be saved just by accepting Jesus as their savior. The two people stand right in front of the Pastor, facing him and with their backs to us, and we are instructed to recite something in the book. I begin to recite, but then feel uncomfortable and stop as I'm not sure what is going on. After, the Pastor whispers things to each person, and the retreat to the back hastily, the woman with tears in her eyes
-everyone sings "This Little Light of Mine"
-Closing song, all hold hands and sway, and say "bless you" afterward
-service ends, I shake hands with Pastor and he inquires if I am a Brown student, and I confirm. I go downstairs to reception to seek someone I can speak with about my project, and am met with many "welcome"'s and "please come back again"'s
Reflection on experience:
I found that I was more uncomfortable with myself than others were with me being there. The real source of my discomfort was that I felt sort of guitly for participating in something that means so much to others around me, but that I do not share this meaning and belief. At the end, when people held hands and said "bless you" to eachother, including to me, I said it back, but I felt sort of wrong about it because I can't mean it the way those who follow this religion do. This presents me with a delema I have still not solved: When being a participant-observer, is it more respectful to attempt to blend in and participate and do or say what those around you are doing, regardless of whether or not the words have meaning to you? Or is it more respectful to refrain from saying certain phrases, thus confirming that saying the words is a powerful and meaningful action, and the sacredness should not be diminished by people who just throw them around but don't personally believe in them? I wish I had a chance to explain my true intentions prior to attending service, but I will make an effort to clarify next time.
I did, however, make an effort to participate in hymns and songs when lyrics were available, and I found that the more I actually participated rather than observed, the more I found myself getting into the service and the pastor's charismatic stories and words. I found myself nodding along with everyone else without even realizing. I found the "silent" prayer to be particularly interesting, which I also participated in (although, as I said, I am not a Christian Baptist, I channelled my prayer energy to my own higher-power beliefs). The piano played chords in the background (3/4 meter, pattern of I, IV, V IV V, I) had a significant effect on my emotional levels during the prayer, which I found fascinating. I almost started tearing up, which is unlike me. Music is very powerful.
Further Questions:
The majority of the service consisted of music rather than speech. Does the music express the religious sentiments of the members of the church more precisely than speech? Why is this music meaningful for the church members? In what ways do the specific musical qualities of the hymns both influence and represent emotion?
How many of the particpants in singng actually read music? For those who have memorized songs, how did this happen? Where these hymns passed through families, or have certain members experienced specific hymns in church(es) since childhood? Do members have musical background, as certain harmonically pleasing improvisations would seem to indicate?
Tuesday, September 16, 2008
Critical Review 2: Barz and Cooley Ch. 9
This chapter describes the importance of considering the possibilities of reciprocal influence between the Ethnomusicologist and the culture being studied. While the fieldworker consciously focuses on appropriate conduct and ethics during and after the fieldwork is conducted, little attention has been paid to the ways in which the fieldworker has an effect on the culture, and some sort of effect is inevitable. There are three ways in which the fieldworker is implicated in transmission with regard to tradition: preserving, memorializing, and mediating. Overall, it is important to realize that we are not studying a culture as some distant thing that is separate from ourselves, but rather we are human and we are studying a group of humans.
Discussion Question:
Shelemey mentions and later dismisses the idea that learning a culture’s style of music or traditions and then sharing them to the rest of the world could be an act of appropriation. Shelemey claims, however, that most cultures would still appreciate this action because the music is still passed on and will outlive the members of the culture, and the outsider’s learned music doesn’t necessarily take away from the original character of the music. Even if we assume that the Ethnomusicologist—who chooses to learn and pass on a previously foreign form of music and thus represent a culture—does follow every code of conduct and respect that we can think of, it seems like a large generalization to state that most cultures would appreciate this. Can you think of any examples where this would not be appreciated? Can an outsider, no matter how well-intended, truly act as a mediator to deliver the learned music to the world and still maintain the authenticity of the tradition? In our previous reading, we discussed the definition of tradition and that it is subject to change, so if it is slightly altered, consciously or subconsciously, by the ethnomusicologist in the mediation process, is that change still considered to be within the natural change of tradition, or is this music now something new that cannot be lumped into a category with the music directly produced from the given culture?
ps. Sorry for my bad grammer, I hope this makes sense.
Discussion Question:
Shelemey mentions and later dismisses the idea that learning a culture’s style of music or traditions and then sharing them to the rest of the world could be an act of appropriation. Shelemey claims, however, that most cultures would still appreciate this action because the music is still passed on and will outlive the members of the culture, and the outsider’s learned music doesn’t necessarily take away from the original character of the music. Even if we assume that the Ethnomusicologist—who chooses to learn and pass on a previously foreign form of music and thus represent a culture—does follow every code of conduct and respect that we can think of, it seems like a large generalization to state that most cultures would appreciate this. Can you think of any examples where this would not be appreciated? Can an outsider, no matter how well-intended, truly act as a mediator to deliver the learned music to the world and still maintain the authenticity of the tradition? In our previous reading, we discussed the definition of tradition and that it is subject to change, so if it is slightly altered, consciously or subconsciously, by the ethnomusicologist in the mediation process, is that change still considered to be within the natural change of tradition, or is this music now something new that cannot be lumped into a category with the music directly produced from the given culture?
ps. Sorry for my bad grammer, I hope this makes sense.
Monday, September 15, 2008
Critical Review 1: "Tradition, Genuine or Spurious" by Richard Handler and Jocelyn Linnekin
Handler and Linnekin explain that there is an important connection between tradition and culture/group identity. They present various definitions of tradition, such as Kroeber, who states that tradition is the handing down of something or some practice from one generation to the next, while Shils builds off that and states that the “tradition” is only such if it goes through at least three generations and contains certain “essential elements” that remain unchanged through time. The authors present the idea of a nation or group in the form of a metaphor: A group can be seen as one organism in which the group refers to its collective identity, or as a collective of individuals, such as one genus with a variety of species. After providing examples of culture/traditions in Quebec and Hawaii, the authors conclude by noting that tradition is always subject to change, and tradition is not necessarily an objective relation to the past. If something is considered meaningful and traditional to those who practice, then it is tradition even if it does not have the clearest ties to the past.
Question for Discussion:
Handler and Linnekin demonstrate that the definition of tradition has had multiple interpretations. This definition could be crucial in drawing lines among and between peoples, as certain shared traditions may tie people together into what we might then call a “culture.” If the definition of tradition is so malleable, what definition would be necessary to define a culture in such a way that it is clearly separate from other cultures? Aside from tradition, are there any other clear and unconditional factors that could separate one culture from another, or is tradition most important?
Question for Discussion:
Handler and Linnekin demonstrate that the definition of tradition has had multiple interpretations. This definition could be crucial in drawing lines among and between peoples, as certain shared traditions may tie people together into what we might then call a “culture.” If the definition of tradition is so malleable, what definition would be necessary to define a culture in such a way that it is clearly separate from other cultures? Aside from tradition, are there any other clear and unconditional factors that could separate one culture from another, or is tradition most important?
First 24 hour music log
12:00am 11/15/08 my roommate is playing Girltalk from her computer while clicking through Facebook. She complains that she is getting sick, I tell her to go to bed, so she does and we turn a fan on to block outside noise.
Morning:
Musically uneventful. I take a break from doing homework before my 3:00pm class, and decide to clean room. I put on "Hey" by the Pixies from my computer's iTunes, because I have had this song stuck in my head for the past two weeks.
iTunes is set on shuffle, and the next song that comes on is "Stool Pigeon Blues" by Lightnin' Hopkins.
I turn music off to do more course reading, and hear a succession of techno songs blasting from the boys next door, who are playing Halo.
******************
I return from my class at 5:30, and turn on iTunes on shuffle while I scarf down dinner before a 6:30 meeting. The first song that comes on is "Dirty Diana" by Michael Jackson. I am not in the mood for something so upbeat, so I skip it. The next song that comes on is "Take You There" by G Love and Special Sauce, and then "Little Miss Lover" by Jimi Hendrix. Then a rough recording by my old a capella group at UVM--"Virtual Insanity" by Jamiraqui--comes on, and I quickly skip it; definitly not in the mood for off-key trips down memory lane, and definitly didn't realize I hadn't deleted that yet. "Dig For Fire" by the Pixies comes on, and then "Something" by the Beatles which I skip because I never really liked that song. Then comes "Aqualung" by a band called Morcheeba, which is one of those bands that has one song you really really like, so you download the whole album thinking they'll all be great, but none of the other songs are anywhere near as good as that first one. So I skip it. Then comes "One Life One Love" by Hyrogliphics, and finally, "Big Man with a Gun" by Nine Inch Nails, which I turn off halfway through because it is a little too intense for my current mood. I resume studying before my meeting, and hear someone playing a piece on the violin somewhere down the hall. I don't recognize it--I'm not very knowledgable about classical pieces. Then I hear someone whistling scales and little tunes somewhere down the hall, and he/she is surprisingly on tune and loud.
******************
After my meeting, I come home to do work (this is about 9:30). Most people on my floor are not playing music and neither am I--I assume we all have work to do. I do hear a young woman singing in the bathroom, though, which has become a common occurance for her. She is singing what sounds like a pop song or maybe a tune from a musical. You know what? She is in there right now, maybe I will go ask her what she is singing. Be right back.....
When I first ask her if and what she was singing, she denies that she was even singing at all, but eventually she explains that maaaybe she was humming, and finally, when I explain why I am questioning, she flat out tells me it is "You Could Be Happy" by Snow Patrol.
******************
At around 10:00pm, I hear someone playing some recorded music made up of accoustic guitar, male vocals, and beats. It isn't close enough for me to distinguish what it is, and I can't tell where it's coming from. This music lasts for about 20 minutes.
By a little after 11:00pm, my roommate complains of feeling sick again, so I again turn the fan on and she sleeps while I do homework. No more music tonight.
Morning:
Musically uneventful. I take a break from doing homework before my 3:00pm class, and decide to clean room. I put on "Hey" by the Pixies from my computer's iTunes, because I have had this song stuck in my head for the past two weeks.
iTunes is set on shuffle, and the next song that comes on is "Stool Pigeon Blues" by Lightnin' Hopkins.
I turn music off to do more course reading, and hear a succession of techno songs blasting from the boys next door, who are playing Halo.
******************
I return from my class at 5:30, and turn on iTunes on shuffle while I scarf down dinner before a 6:30 meeting. The first song that comes on is "Dirty Diana" by Michael Jackson. I am not in the mood for something so upbeat, so I skip it. The next song that comes on is "Take You There" by G Love and Special Sauce, and then "Little Miss Lover" by Jimi Hendrix. Then a rough recording by my old a capella group at UVM--"Virtual Insanity" by Jamiraqui--comes on, and I quickly skip it; definitly not in the mood for off-key trips down memory lane, and definitly didn't realize I hadn't deleted that yet. "Dig For Fire" by the Pixies comes on, and then "Something" by the Beatles which I skip because I never really liked that song. Then comes "Aqualung" by a band called Morcheeba, which is one of those bands that has one song you really really like, so you download the whole album thinking they'll all be great, but none of the other songs are anywhere near as good as that first one. So I skip it. Then comes "One Life One Love" by Hyrogliphics, and finally, "Big Man with a Gun" by Nine Inch Nails, which I turn off halfway through because it is a little too intense for my current mood. I resume studying before my meeting, and hear someone playing a piece on the violin somewhere down the hall. I don't recognize it--I'm not very knowledgable about classical pieces. Then I hear someone whistling scales and little tunes somewhere down the hall, and he/she is surprisingly on tune and loud.
******************
After my meeting, I come home to do work (this is about 9:30). Most people on my floor are not playing music and neither am I--I assume we all have work to do. I do hear a young woman singing in the bathroom, though, which has become a common occurance for her. She is singing what sounds like a pop song or maybe a tune from a musical. You know what? She is in there right now, maybe I will go ask her what she is singing. Be right back.....
When I first ask her if and what she was singing, she denies that she was even singing at all, but eventually she explains that maaaybe she was humming, and finally, when I explain why I am questioning, she flat out tells me it is "You Could Be Happy" by Snow Patrol.
******************
At around 10:00pm, I hear someone playing some recorded music made up of accoustic guitar, male vocals, and beats. It isn't close enough for me to distinguish what it is, and I can't tell where it's coming from. This music lasts for about 20 minutes.
By a little after 11:00pm, my roommate complains of feeling sick again, so I again turn the fan on and she sleeps while I do homework. No more music tonight.
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