Music has a powerful impact on people by evoking emotions, inspiring creativity, and bringing people together. It is known to influence one’s mood and behavior. Music stems from all over the world and is created from different national identities, races and ethnicities. Zydeco and Cajun music styles are just two of the many music styles that represent a confluence of styles and cultural backgrounds. They share a multitude of similarities and differences when it comes to the style of music.
However, I do not agree that the rhythm one possesses is not associated with these topics. The Africans all had different rhythms and not all were on the beat as others. The body language was a symbol
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A model for the Tahitian musical landscape The contemporary Tahitian musical landscape can be broadly described as the sum of three intertwined musical overlapping fields as described in Figure 1 (Colson 2016, p. 119). The Cultural/Traditional field corresponds to what Tahitians name arts traditionnels. It encompasses the various genres in ‘ori tahiti and associated musics, ‘ōrero (oratory art), and hīmene (traditional a cappella singing). ʻOri tahiti includes four basic genres, ʻōteʻa, pāʻōʻā, hivinau, and ʻaparima.
Although they were living on another continent, much of their musical culture managed to be preserved. These African music elements, when being composed in America, were met with lots of European ideas and influences. These include concepts along the lines of dance, entertainment, and even hymn music (Schuller). Throughout the early 20th century, the combination of African rhythms and European instrumentation, such as
North Africa is categorized regionally with Southwest Asia, separate from sub-Saharan Africa by many factors. For example, NASWA region is more developed and has predominately Arabs living in this realm. The geography theme place is defined as physical and human characteristics that include landforms, people, waterways, languages, climate, transportation, and communication. The Mediterranean Sea border North Africa and Southwest Asia. This realm has river valleys, mountain basins, deltas, and moist coastlines.
Such lifestyles can influence the people of their native land and the people of South America took those influences and mixed it into all aspects. But one thing that they had mixed into the most would be their musical arts. Which would not only affect their music but even more their dance styles. Which shows that African styles of dance had influenced the beginnings of what is now known today as Latin dancing and the many types of dance in the Latin style.
These sub-disciplines include musicology (the history, origins and development of music)- from this one can infer that ethnomusicology would also play a large role in cognition especially when evaluating the development of music in specific cultures, psychology (the use music to convey emotion (i.e. movies, TV, etc.) and how music effects one’s emotions), and neuroscience (how music effect the brain, and how the brain interprets sound). In addition, Thompson discusses some of the controversies in the field including the relationship between music psychology and cognition - how music psychology can be best explained and the methods
Zimbabwe music and dances have been known to cave a connection between the spiritual and religious life among its people. While not always are religious rituals associated with traditional music of Zimbabwe, the social life among them is linked to both their music and dance. In modern-day it has also been used to speak on the topics of social-political challenges. Regardless of the role that the music plays towards to, great concern to certain people has emerged due that the traditional music is being less heard of and people are moving towards western-influenced contemporary music. While traditional music has influenced both popular music and artists not much is being done to keep traditional music on the
1. The technology of recorded sound has revolutionized musical globalization. Its influence plays a role in mixed musical cultures by providing a way to play back sound and share amongst other peoples of different locations. 2. Two opposing tendencies have arisen from musical globalism.
This audio took me on a musical adventure from Beethoven up to the late 20th century describing great musicians and their work. The video reference that I watched for this project is Dvořák To Duke Ellington: A Conductor Explores America's Music And Its African American Roots. This book educated me on how much the African American music has been the root to many musical genres. It goes deeper into the text when the author describes how the African American music has even influence the very same individuals that enslaved them, the European Americans.
The Japanese have often been accused of a lack of creativity with their music, or being “copycats”. Could this be true or is it a misconception brought about by a Western view of Japan? A closer look into historical events in Japan over the last 100-200 years will show that the Japanese are musically creative. From the late 18th Century, music in Japan has been influenced by the Western world in many ways but they have also combined their own traditional music with a more Western twist. Military music was the first western music to be introduced in Japan and at the time became highly sought after.
Even at its low ebbs and softer playing, there was so much color that came out of that music. It is adventurous, stirring, and thought provoking. It was also innovative. It introduced “Turkish” instruments (triangle, crash cymbals, and bass drum). (1).
Steven Feld responds to two questions in his article, “Sound Structure as Social Structure”: what are the representations or features of small-scale and egalitarian societies through organized sound? And, what are the major ways that these same features reveal themselves in social organization and ideology if soundmakers and soundmaking?” Within these questions there are aspects to consider, such as ethnomusicological and sociomusical questions. Ethnomusicological questions tend to be more about the “cultural study of the shared meanings of musical sounds.” Whereas sociomusical questions deal more from the viewpoint of the social structure and organization of musical sounds (Feld 1984, p. 383).
The Philippines has always had a rich musical history. It takes its roots from the indigenous tribes of the Philippines, who used it as a way to pass on epics and stories about gods and heroes, a way to celebrate good harvests, festivals, weddings and births, a way to mourn the dead, to court women, and a way to praise the gods. This music was then enriched by the Philippines’ western colonizers. The Spaniards imparted the zarzuela (called sarswela in the Philippines) and the rondalla, adding more Spanish touches to Filipino folk songs. The Americans, on the other hand, influenced the Philippine music scene by introducing pop and rock, eventually leading to the creation of “Pinoy pop”, which included a wide variety of forms like dance tunes, ballads, rock n’ roll, disco, jazz, and rap.
