Nonwestern MusicNonwestern Music

Reflects/expresses world’s diversityReflects/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

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

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

Improvisation

Improvisation is frequently basic to the musicImprovisation is frequently basic to the music

– Improvisation usually based on traditional melodic

phrases and rhythmic patterns

Chapter 1

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

Instruments

Four types based upon sound production: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

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

Melody, Rhythm, and Texture

Most nonwestern musics are monophonicMost nonwestern musics are monophonic

– Some cultures use heterophony

– Sometimes accompanied by a drone

- All perform same melody with different ornamentation

Chapter 1

– 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

Interaction between Nonwestern and Western Music

Nonwestern music has been greatly impacted by western influences due to: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

Chapter 2: Music in Sub-Saharan Africa

Africa is divided into two parts: above and below the Sahara DesertAfrica 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

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

Music in Society

Music permeates African life from religion, Music permeates African life from religion,

entertainment, and magic to rites of passageentertainment, 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

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

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

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

Texture

Often homophonic or polyphonic

Same melody often sung at many pitch levels

– This is unlike most nonwestern musics

Chapter 2

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

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

Aerophones and Chordophones

Flutes and trumpets (of wood and horn) most common

Chordophones plucked or struck, gourd resonators

– Reed instruments less widespread

Chapter 2

ListeningListeningOmpehOmpeh

Song from central GhanaSong from central GhanaClaude DebussyClaude Debussy

Listening Outline: p. 411Listening Outline: p. 411Brief Set, CD 4:66Brief Set, CD 4:66

Music of the Akan-speaking peoples in Ghana.Music of the Akan-speaking peoples in Ghana.

Listen for:Listen for: Call and responseCall and responseSolo vocalist and chorusSolo vocalist and chorusPercussion ensemblePercussion ensemble

Chapter 2

Chapter 3: Classical Music of India

Musical traditions date back over 3,000 yearsMusical 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

Performers

Music viewed as a spiritual discipline

Oral tradition—study by apprenticeship

Chapter 3

Improvisation

Very important, sophisticated, and developed

Guided by melodic and rhythmic formula

Must study for years before allowed improvise

Chapter 3

Elements of Indian Classical Music

Music is based upon the human voiceMusic 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

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

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

InstrumentsVocal music most important in IndiaVocal 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

Tabla

Tambura

Ravi Shankar—sitar

Chapter 3

Listening

Maru-BihagMaru-BihagRavi ShankarRavi Shankar

Listening Guide: p. 415Listening Guide: p. 415

Brief Set, CD 3:69Brief Set, CD 3:69

Listen for:Listen for: RagaRaga and and talatala organization organization

Heavy reliance on stringed instrumentsHeavy reliance on stringed instruments

Extensive improvisationExtensive improvisation

Nonwestern musical formNonwestern musical form

Chapter 3