Week 4: 04-26-2007
Our questions come from your reading--Prof. Helen Rees discusses two contexts in which "authenticity" is contended. First, she describes tourists' fascination with "Ancient Naxi Music." Question 1: Why does she say that this music is not as "ancient" as it is marketed to audiences? (Just answer in one paragraph)
When it comes to the substances of music, I think that every element of it plays an important role in defining the style and type of music. This includes dresscode, like in music of the Naxi, which although Professor Helen Rose contends that it is not as “ancient” as it is marketed to audiences, the Naxi women still wear their traditional sheepskin cape for Naxi music concerts and it eschews non-native instruments (136, 138). A reason why Rees believes this to be not as ancient is because, the Chinese have adopted a modern style of music derived from the Han Chinese, using the vocals and the words sung, tune titles, melodies, and the way the instruments were used were all adopted from the Han Chinese. She raises four questions regarding the music not being as ancient as it is marketed to tourists: What were those other origins and uses? What elements have been abstracted to create this traditional display? How do these presentations differ to tourists and to the local population? What is the nature of the “authenticity” marketed to tourists?
This leads me to the second question: Question 2: In a different way, why did Western scholars accuse the modern Chinese orchestra as not being "authentic" enough? What do you think of these arguments? Does authenticity exist on a continuum like identity? In other words, are there a lot of gray areas?
First of all, western scholars accuse the term authentic as not being indisputably defined. In a sense it can mean that it is credible and convincing and tourists do seem to find it convincing (since they probably don’t know better). Another sense of something being authentic is having present validating figures like in the Chinese Orchestra, the Xuan Ke is the only one who allows interpretation possible for the tourists. This kind of figure is a validating figure that makes it more believable that the orchestra is really “authentic.” The reason why tourists find it believable is because they compare it to other performances they’ve attended. The Western scholars, however, don’t think its authentic enough arguing that foreign tourists are not culturally informed and thus don’t know the kinds of traditions in Chinese orchestra. They actually recognized the western style influence on the music and that’s unacceptable for something to be “authentic” traditional music. They set conditions for something to be considered traditional: it should have come down from earlier people and its quality should be so outstanding that it influences future music—“In order to understand traditional music, it is not only necessary to understand its classical and folk origins, but also necessary to understand its modern evolution”(151).
One can say that these arguments are both legitimate and not. The reason why I say this is because when we think of identity and individuality, we all think that we are being as unique and individual as possible but in reality, we are who we are because of past influences and current ones too including fashion, music, traditions, and even certain personality characteristics. This is the same for the authenticity of music. When a new artist begins to develop “his/her own music” they think that just because they are composing it, it is authentic and original and contemporary but its not! Every style of music has some roots in past styles of music whether it be on the instruments, surroundings where the song is played, or the vocals and themes of the songs. Although the artist might not know this at first, doing a little research on similar styles of music will open up an array of similarities with other styles of music. I don’t quite understand what you mean by “gray areas.” It seems like it means fuzzyness in the field of recognizing the origins of a certain style of music. If this is the case, then I definitely think that amongst listeners of the styles of music there is a lot of gray areas. Some (not all) musicians/singers, though, do know the background of the music they compose and recognize the scholarly musicians critique on the authenticity of their music.
Thursday, April 26, 2007
Thursday, April 19, 2007
Week 3
Week 3: 04-19-2007
1. Go to www.youtube.com and watch two videos:
a. "Ratna Ayu," performed by the California Institute of the Arts' gamelan Balinese gamelan ensemble
b. "Gamelan Bali Nyepi"
2. In your blog, compare as many elements of the performance as you can. Particularly focus on the setting of the performance and how this influences the portrayal of gamelan.
I’d like to start this blog with the realization that struck me this week both with the presenters and with the different Philippine instruments that we learned about. My close-mindedness about music made me believe that only the drum, guitar, piano, violin, etc existed. I’m excited about doing my presentation about Mexican music now since now I know how it feels to learn about music one has never imagined or heard about!
As for the Ratna Ayu presentation I paid more attention to the dance than to the music for two reasons: the camera shot was shooting mostly to the center of the stage where the dancers were and also, this video gives the impression that the ritualistic dance is of more importance than the music itself since at one point, four of the five women pick up large blue umbrellas and carry one of the women as if she was of more importance or was more royal than the other four. I also noticed that for this dance, there were obviously only women dancing and these women, as well as the musicians, wore fancy embroidered clothing (Gamelan Bali Nyepi people didn’t). I guess this has to do also with the setting of the performance. Ratna Ayu looks like it takes place in a concert hall or little amphitheatre because it was spacious enough to even have dancers and an audience. As for the musicians, there were both men and women, and there were many of them! They too were wearing fancy clothing/robes. As for the music, I heard two different beats/rhythms, one louder and predominant than the other. I heard hand drums, a chimmy bell sound probably by the sound of the set of gongs, which were on either side of the dancers and looked like they were made out of bronze since they were really shiny. At around the 2-3 minute point the music was really slow and melancholic and the dancers reflected the rhythm of the music with their dance movements. The dance seemed sort of ritualistic, especially with the usage of the long white piece of cloth. The music gets faster then slower and also goes from soft to loud. The women are barefoot and they walk away at the end of the song with slow music.The Gamelan Bali Nyepi music was less formal than the Ratnu Ayu. The men wear simple white robes and they look like commoners or people from the village celebrating some sort of festivity or carnival. It takes place on the seashore and the men sit while there are people in the background that are either passers-by or are merely joining the celebration. I didn’t notice any main performers like there was with the women dancing. The camera is also closer so we get more detail of the musicians and their instruments. Some are playing the gong, others are playing hand drums, a set of hanging gongs (Agung or Gandinga?) which are used to communicate within tribes or used for competitions, and I also hear some sort of rain-stick or maraca like instrument. I may be mistaken but I see cymbals in some of the men decorated with yellow, red, and green pompom looking things. Again, like with the Ratnu Aya, I hear one main rhythm played by most of the men and a softer one in the background.
1. Go to www.youtube.com and watch two videos:
a. "Ratna Ayu," performed by the California Institute of the Arts' gamelan Balinese gamelan ensemble
b. "Gamelan Bali Nyepi"
2. In your blog, compare as many elements of the performance as you can. Particularly focus on the setting of the performance and how this influences the portrayal of gamelan.
I’d like to start this blog with the realization that struck me this week both with the presenters and with the different Philippine instruments that we learned about. My close-mindedness about music made me believe that only the drum, guitar, piano, violin, etc existed. I’m excited about doing my presentation about Mexican music now since now I know how it feels to learn about music one has never imagined or heard about!
As for the Ratna Ayu presentation I paid more attention to the dance than to the music for two reasons: the camera shot was shooting mostly to the center of the stage where the dancers were and also, this video gives the impression that the ritualistic dance is of more importance than the music itself since at one point, four of the five women pick up large blue umbrellas and carry one of the women as if she was of more importance or was more royal than the other four. I also noticed that for this dance, there were obviously only women dancing and these women, as well as the musicians, wore fancy embroidered clothing (Gamelan Bali Nyepi people didn’t). I guess this has to do also with the setting of the performance. Ratna Ayu looks like it takes place in a concert hall or little amphitheatre because it was spacious enough to even have dancers and an audience. As for the musicians, there were both men and women, and there were many of them! They too were wearing fancy clothing/robes. As for the music, I heard two different beats/rhythms, one louder and predominant than the other. I heard hand drums, a chimmy bell sound probably by the sound of the set of gongs, which were on either side of the dancers and looked like they were made out of bronze since they were really shiny. At around the 2-3 minute point the music was really slow and melancholic and the dancers reflected the rhythm of the music with their dance movements. The dance seemed sort of ritualistic, especially with the usage of the long white piece of cloth. The music gets faster then slower and also goes from soft to loud. The women are barefoot and they walk away at the end of the song with slow music.The Gamelan Bali Nyepi music was less formal than the Ratnu Ayu. The men wear simple white robes and they look like commoners or people from the village celebrating some sort of festivity or carnival. It takes place on the seashore and the men sit while there are people in the background that are either passers-by or are merely joining the celebration. I didn’t notice any main performers like there was with the women dancing. The camera is also closer so we get more detail of the musicians and their instruments. Some are playing the gong, others are playing hand drums, a set of hanging gongs (Agung or Gandinga?) which are used to communicate within tribes or used for competitions, and I also hear some sort of rain-stick or maraca like instrument. I may be mistaken but I see cymbals in some of the men decorated with yellow, red, and green pompom looking things. Again, like with the Ratnu Aya, I hear one main rhythm played by most of the men and a softer one in the background.
Thursday, April 12, 2007
Week 2 Blog
Week 2: 04-12-2007
Question 1: Can you think of some instances in which you were/are an insider but an outsider at the same time? From the Herndon reading, I wanted you to ask questions about how being an insider/outsider to the culture played out in Chris' fieldwork, but we didn't have time. Can you think of several different contexts in your life in which you accentuate different parts of your identity (remember we talked about family culture, religious culture, student culture, etc.)? How has music played a role in these various contexts? Please write in a way that reflects your critical thinking skills (and read each others' blogs) and good writing skills. Don't simply give me a "report", but really reflect on what it all means.
I definitely knew what Herndon was talking about when she felt an outsider of the Cherokee Indian Tribe culture. She said she was “more ignorant of much of Cherokee culture and society than a total outsider, because of tacit assumptions, unspoken family taboos, and general cultural climate.” She says she was never a total outsider to Cherokee culture but she was also never an insider. This is the way I feel about Mexican culture, and I know I talked about this in the last blog but I can’t help it, it is who I am. I feel an insider of the Mexican culture here in UCLA but when it comes down to it, I am an outsider when I visit Mexico where the culture is obviously more celebrated and predominant than it is here.
I often feel I am in an insider but an outsider at the same time when I visit my family in Mexico every year or two. When I’m there, I feel like my cousins and other family members don’t interact with me the same way that they do with other members of my family. I’m not sure if its because they think I don’t speak the language, even though I speak almost perfect Spanish, or because they think I might not appreciate whatever it is they want to share because I’m not as exposed to the Mexican culture and traditions as much as the other family members are. I might come off as ignorant in my culture when Im around people/family who know it more than I do but I can definitely speak of times when I accentuate different parts of my identity here in L.A. This has occurred in many instances in which some are ashamed of their roots and thus, hide their background and cultural traditions and values but I try my best to let it out by sharing the language, traditions, history, dress, and music of the Mexican culture. Why do I do this? To differentiate myself from others. I love it when I see the dress code and accent and hear the language and music of other cultural backgrounds and so I would like others to experience it as well. It is an important part of cultural assimilation in society.
Question 2: Although we focus in on the musical sound itself in this class, music is really just part of a whole meaningful event. In what way can you think of is music just part of a whole event you've attended, and what does music reflect about this event (think of a club scene versus a religious setting).
This might be unbelievable but I have never attended a musical concert before. The only thing close to it was a live Beauty and the Beast Musical I went to when I was younger. The music of this event helped me to remember the different parts of the film by associating the movie scenes with the scenes and acting on stage. An event that I regularly attend that does involve the incorporation of music, though, is church. I go to church back at home in South Gate, a predominantly Hispanic community. I love it because it’s the only time during the week where I can feel at home with people with the same background as myself, singing and saying the prayers in the language of my culture. I have also gone to the Student Catholic Center here in Westwood village and the entire atmosphere is just so welcoming and I love how everyone sings to the songs—even the tough macho man football players! Another setting where the music makes up the event and reflects the significance of the event are fiestas. In Mexico, we listen to Rancheras and pretty much, the music makes whatever we are celebrating about 100% more fun! Also, we celebrate Quinceaneras (Sweet 16) and perform a special dance called the “balz” in which the parents, as one aspect of the dance, give the girl the “last porcelain doll” to indicate the end of the girls childhood onto becoming a woman. I cant finish the blog without talking about the setting in weddings and birthdays and babtisms and other really joyful moments that reflect our high spirits and culture through the music by dancing to rancheras, zapateada, banda, other types of music. Its so much fun!
Whereas in a religious scene we feel a sense of solidarity among the other members of the church, in a fiesta setting its more of a cultural togetherness feeling (that probably makes no sense). Its kind of like a feeling when you see your lost cousin or a family member whom you haven’t seen in a long time and then you get together and realize that you share common experiences and enjoy similar aspects of life that involve your cultural background.
Question 1: Can you think of some instances in which you were/are an insider but an outsider at the same time? From the Herndon reading, I wanted you to ask questions about how being an insider/outsider to the culture played out in Chris' fieldwork, but we didn't have time. Can you think of several different contexts in your life in which you accentuate different parts of your identity (remember we talked about family culture, religious culture, student culture, etc.)? How has music played a role in these various contexts? Please write in a way that reflects your critical thinking skills (and read each others' blogs) and good writing skills. Don't simply give me a "report", but really reflect on what it all means.
I definitely knew what Herndon was talking about when she felt an outsider of the Cherokee Indian Tribe culture. She said she was “more ignorant of much of Cherokee culture and society than a total outsider, because of tacit assumptions, unspoken family taboos, and general cultural climate.” She says she was never a total outsider to Cherokee culture but she was also never an insider. This is the way I feel about Mexican culture, and I know I talked about this in the last blog but I can’t help it, it is who I am. I feel an insider of the Mexican culture here in UCLA but when it comes down to it, I am an outsider when I visit Mexico where the culture is obviously more celebrated and predominant than it is here.
I often feel I am in an insider but an outsider at the same time when I visit my family in Mexico every year or two. When I’m there, I feel like my cousins and other family members don’t interact with me the same way that they do with other members of my family. I’m not sure if its because they think I don’t speak the language, even though I speak almost perfect Spanish, or because they think I might not appreciate whatever it is they want to share because I’m not as exposed to the Mexican culture and traditions as much as the other family members are. I might come off as ignorant in my culture when Im around people/family who know it more than I do but I can definitely speak of times when I accentuate different parts of my identity here in L.A. This has occurred in many instances in which some are ashamed of their roots and thus, hide their background and cultural traditions and values but I try my best to let it out by sharing the language, traditions, history, dress, and music of the Mexican culture. Why do I do this? To differentiate myself from others. I love it when I see the dress code and accent and hear the language and music of other cultural backgrounds and so I would like others to experience it as well. It is an important part of cultural assimilation in society.
Question 2: Although we focus in on the musical sound itself in this class, music is really just part of a whole meaningful event. In what way can you think of is music just part of a whole event you've attended, and what does music reflect about this event (think of a club scene versus a religious setting).
This might be unbelievable but I have never attended a musical concert before. The only thing close to it was a live Beauty and the Beast Musical I went to when I was younger. The music of this event helped me to remember the different parts of the film by associating the movie scenes with the scenes and acting on stage. An event that I regularly attend that does involve the incorporation of music, though, is church. I go to church back at home in South Gate, a predominantly Hispanic community. I love it because it’s the only time during the week where I can feel at home with people with the same background as myself, singing and saying the prayers in the language of my culture. I have also gone to the Student Catholic Center here in Westwood village and the entire atmosphere is just so welcoming and I love how everyone sings to the songs—even the tough macho man football players! Another setting where the music makes up the event and reflects the significance of the event are fiestas. In Mexico, we listen to Rancheras and pretty much, the music makes whatever we are celebrating about 100% more fun! Also, we celebrate Quinceaneras (Sweet 16) and perform a special dance called the “balz” in which the parents, as one aspect of the dance, give the girl the “last porcelain doll” to indicate the end of the girls childhood onto becoming a woman. I cant finish the blog without talking about the setting in weddings and birthdays and babtisms and other really joyful moments that reflect our high spirits and culture through the music by dancing to rancheras, zapateada, banda, other types of music. Its so much fun!
Whereas in a religious scene we feel a sense of solidarity among the other members of the church, in a fiesta setting its more of a cultural togetherness feeling (that probably makes no sense). Its kind of like a feeling when you see your lost cousin or a family member whom you haven’t seen in a long time and then you get together and realize that you share common experiences and enjoy similar aspects of life that involve your cultural background.
Thursday, April 5, 2007
Week 1 Blog
Hola! My name is Andrea Gonzalez and I’m a second year Political Science and Sociology double major. Although I love listening to music and different styles of music around the world I myself am not a musician, don’t perform, I’ve never played an instrument, nor do I have the most amazing voice. I’m a quiet one in class and I guess the only times that I do actively engage in music is when I sing at home…or in the shower—one of the rules of life! As I have learned so far in these past lectures and also because it is common sense, an individuals background has pretty much determines the type of music they listen to. I come from an entirely Mexican background so I was excited to hear in Lecture 2 that we would listen to conjunto music because and to learn a little bit of its background.
That type of conjunto music is a little out of date for my liking though. I listen to mostly Latin pop, Spanish Rock, and Banda/Conjunto music. Sometimes I do listen to English genres of music because it’s nice to hear other instruments in the making of such unique styles of music. I really like the sound that drums make and I have always wanted to play the drums since middle school. I never learned though. Folklorico music and Zapateada as well as Mariachi music is a huge part of my culture. Dancing Zapateada when we have family reunions is the best experience ever, although I don’t consider myself a professional dancer sometimes I feel like I’m dancing to an African song just because Zapateada music has so much rhythm in it and I imagine that African beats sound similar because of the incorporation of the drum.See now I’m just guessing what other cultures use in making their music. This is why I chose to take Ethnomusicology as my arts GE. I would really like to be cultured in the music of other cultures since I know I wouldn’t like the music from my background to be confused or just taken for granted—I know that behind the lyrics there is a historic background in some of the songs about the Mexican Revolution and certain Caudillos and Revolutionary heroes like Pancho Villa. Since I took a history of Latin America class, I listen to the lyrics of songs from Cuba for example and they do have a distinct rhythm yet they give to us a message about the Cuban Revolution. This is another reason im taking this class. I want to know if songs and music from around the world has meaning to it or what kinds of songs they use for rituals such as marriages or birthdays or sad moments or celebrations and festivals. All types of music should be appreciated and it’s a shame, as in my case, that we stick only to the music that we are raised with.
That type of conjunto music is a little out of date for my liking though. I listen to mostly Latin pop, Spanish Rock, and Banda/Conjunto music. Sometimes I do listen to English genres of music because it’s nice to hear other instruments in the making of such unique styles of music. I really like the sound that drums make and I have always wanted to play the drums since middle school. I never learned though. Folklorico music and Zapateada as well as Mariachi music is a huge part of my culture. Dancing Zapateada when we have family reunions is the best experience ever, although I don’t consider myself a professional dancer sometimes I feel like I’m dancing to an African song just because Zapateada music has so much rhythm in it and I imagine that African beats sound similar because of the incorporation of the drum.See now I’m just guessing what other cultures use in making their music. This is why I chose to take Ethnomusicology as my arts GE. I would really like to be cultured in the music of other cultures since I know I wouldn’t like the music from my background to be confused or just taken for granted—I know that behind the lyrics there is a historic background in some of the songs about the Mexican Revolution and certain Caudillos and Revolutionary heroes like Pancho Villa. Since I took a history of Latin America class, I listen to the lyrics of songs from Cuba for example and they do have a distinct rhythm yet they give to us a message about the Cuban Revolution. This is another reason im taking this class. I want to know if songs and music from around the world has meaning to it or what kinds of songs they use for rituals such as marriages or birthdays or sad moments or celebrations and festivals. All types of music should be appreciated and it’s a shame, as in my case, that we stick only to the music that we are raised with.
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