Kendra’s Musical Blog

When I was listening to the first track, the one which was an explanation of Indian music, I found myself becoming increasingly aware of my own ethnocentrism. Although the explanation of Indian ragas seemed very complete, I was unable to understand music from this perspective. While listening to the pieces that followed, I still thought of them in terms of scales and modes, and I also thought of time signatures. Furthermore, whenever I heard the microtonalities, I winced internally upon hearing this notes, which sounded so out of tune to my classically-trained, Western ears. I had so much trouble experiencing this music in the way that someone who is familiar with it would. The man in the first recording warned that listeners should avoid closing their minds, and although I tried to listen to these instructions, I found that mine seemed to be locked shut.   I doubt that my difficulties in experiencing this music properly and in an ethnically appropriate way was unique. I would imagine that my of my fellow students were similarly bewildered when they listened to these examples of traditional Indian music. What is particularly interesting is that my fellow students and I are a self-selected group; all of us chose to take an ethnomusicology class, indicating that we were willing to listen to music of other cultures and ready to appreciate it (hopefully).  I wonder if those who would not chose to take this class, especially serious classically trained musicians, would be even more confused.   The issues about which I am speaking have larger implications. It seems difficult for us to get beyond confusing difference with wrongness. In the scheme of things, a bunch of college students being confused by music they don’t understand is relatively unimportant. But cross-cultural misunderstandings can have much broader implications. Many of the genocides of the last century were caused, at least in part, by this problematic conflation of difference and wrongness. How can humanity get past this?

http://www.youtube.com/watch?v=T6i8HHrz2BIThis is the recording my Simon and Garfunkel of their version of The Condor Pasa. This brings to mind issues of cultural appropriation and the packaging of ethnicity. I usually associate Simon and Garfunkel with an audience that is very liberal and thinks of themselves as being very worldly. Therefore they seek out the exotic and listen to what they consider “world” music. Although these people (and I absolutely include myself in this group) wants to experience true multiculturalism, the way they listen to music and experience the world in general is colored by the lens of Western thought. Therefore, this music has been converted to something that will be pleasurable to their ears. 

I loved the music from the Andean Folkloric Ensembles. I am a strong believer in the power of music to influence emotions and bring the listener to its place of creation. These songs effectively created a world in their own right, apart from the physical of the speakers from which they currently play or the instruments which originally created these songs. Although I am sitting in my dorm room, I feel as though some part of me has travelled to the Andes.I don’t know exactly why this selection of music in particular was so emotionally salient for me. It might be because I find the music so aesthetically pleasing and easy to listen to. I enjoy the overall structure of the piece, with its use of melodies that are elegant in their simplicity. Although these melodies are repeated, or at least some variation of them is repeated, the repetition does not seem monotonous. There is a perfect combination of familiarity and novelty in sounds of these songs. The instrumentation is pleasing as well. The breathy sound of the Andean flute is beautiful and light which contrasts with the richer and warmer sounds that come from  the stringed instrument. The drums help keep the rhythm and give the piece more energy. Together, the sounds of the various instruments create this inspiring melody.I am glad to have listened to this music for class. I am going to look it up on itunes. Also, as a flautist, I might try to play some of it. 

When I was listening to all of the examples of Mande, Music, I was struck how none of these pieces seemed “African” to my ears. My knowledge of African music, outside of what I have learned in this class, is very minimal. When I think of African music I think of songs that are simple in structure and use either drums or simple objects to make sounds, like sticks, or the use of stomping or clapping. However, this music didn’t generally follow this formula.  Lambango sounded like nothing I had ever heard before and I could not place the sound. The next three selections reminded me of Spanish music, with the use of a stringed instrument, which I think of as central to music in Spain. The last selection sounded vaguely “African” because of the use of drums, but I thought it had more of a Middle Eastern feel to it. The difference between my understanding of African music and the reality of the sounds of this music is telling. I, and I think many other Americans and people from other Western countries, tend to think of Africa as a single entity with only one culture. However, this is clearly not the case. My conception of Africa reminds me of the concept of packaging ethnicity. African culture as understood by Americans is packaged in a certain way, possibly as a result of stereotypes or the fact that it is easier to represent Africa as one single entity rather than a complex place with many different cultures. It bothers me that my conception of this continent is so wrong. I would think it was totally ridiculous if I ran into someone who thought all of North, South, and Central America were all the same. I hope that throughout my experience in this class and through the rest of my life I learn more about other cultures, so that the misconceptions that i currently have can be erased.

All of the examples I listened to sounded very different from any music I had heard before. They all had relatively simple, nonuniform structures and lacked instruments capable of producing melody. The first selection, the examples of yodels, was extremely simple and I’m not sure if I would even classify it as music because of its lack of much of a melody, although there were changes in pitch. The second selection, Darkness is Good, sounded more like music because it was organized and had more of a melody. The call-and-response quality of this selection gave it more of a pattern. The third selection, Makala, was very chaotic and the singers didn’t seem to have any plan to their song. The last piece, the Egenji ceremony, sounded the most like music to me, with its distinctive beat and more complex organization, both rhythmically and melodically. 

The Balinese Gamelan differs from other Indonesian gong ensembles based on its sound and the social context in which it is played. However, there are also similarities between the Balinese Gamelan and the other ensembles, which include Talempong and Javanese Gamelan.

            In terms of sound and structure, there are two major differences between the Balinese Gamelan and other Indonesian gong ensembles. First, Balinese Gamelan songs are always played in cycles of eight. In contrast, pieces on both the Talempong and the Javanese Gamelan can be made up of cycles that have varying numbers of beats, with each ensemble having its own specific set of appropriate cycle lengths. Secondly, the Balinese Gamelan includes cymbals, instruments that are not used for Talempong or Javanese Gamelan. The reasons for both of these differences may have to do with the fact that Balinese Gamelan is a processional ensemble, whereas the Talempong and Javanese Gamelans are both static. When one must walk with an instrument, it is easier if all music is in the same, simple cyles. To a similar end, cymbals are relatively easy to carry.

            There are also similarities between the music of the Balinese Gamelan, Javanese Gamelan, and Talempong. First, they all use drums and gongs. The music is also structured in cycles that always have an even number of beats. In addition, the three ensembles all use a technique in which multiple instrumental parts play the same melody, but one plays very slightly before the other.

            Social context is another way to study the music of the Balinese and Javanese Gamelans and the Talempong. The ensembles can be ranked in terms of their social status, from those that are associated with lower classes to those that are associated with higher classes. Talempong is probably associated with the lowest social class. Many small villages own talempongs, and they can be made out of found materials, like wood or tin cans. Balinese Gamelan is associated with a slightly higher social class. These ensembles are used for important occasions, and performed in stylized processions, which makes them a more special ensemble. The Javanese Gamelan is associated with the highest social status of the three because it is played in royal courts by very specialized musicians which have trained for years. The instruments that make up the Javanese Gamelan are themselves considered holy.

            There are also a number of similarities between the social value of the Balinese Gamelan, Talempong, and Javanese Gamelan. In contrast to Western musical ensembles, which are usually played in a context that has to do with music and little else, all of these ensembles are very integrated into the social lives of the communities from which they come. Talempong is central to life in small rural villages. Balinese Gamelan is used to mark important occasions, as is Javanese Gamelan.

            One other note about the similarities and differences between these three ensembles is that the Balinese Gamelan is a processional ensemble, which the Talempong and Javanese Gamelan remain still. This is important to both the actual production of Balinese Gamelan music and also to its social context.

            In conclusion, Balinese Gamelan, Javanese Gamelan, and Talempong are three Indonesian gong ensembles that have much in common, but are also different from each other in many ways. These similarities and differences come both from the music played with each ensemble and from this music’s social context.