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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
