Week 6 - Music of Ethiopia

1) Title: Tigringna
2) Performers: Abraham Gebremedhin and Accompanying Ensemble
3) Origin: Ethiopia
4) Orchestration: Male vocals, Alto Saxophone, Tenor Saxophone, Bass, Percussion, Electronic Synthesizer, Trumpet, Trombone
5) While in the culture of Ethiopian traditional music, this piece in particular tends to lean a little more to the American genre of Jazz. The timbre, style, syncopation and overall quality leans in the direction of western culture than that of Ethiopia. The male vocals are not in english, however the melody, harmonies and rhythms provide a very common and comfortable feel.  In terms of socialization, this piece gravitates toward the success and popularity of western cultures. I feel that the performer, Gebremedhin, is a fan of American Jazz and finds the music to be comforting and successful in Ethiopia. He has brought a culture that would typically not value Jazz style and syncopation, a better understanding of what music can sound like when given its own identity. While we have had the discussion of authenticity, do you think that authenticity should stand in the way of socialization? Visa Versa?

Week 5 Listening Blog - New Zealand

Title: Pokarekare Ana
Origin: New Zealand
Performers: Hayley Westenra
Instrumentation: Vocals and Synthetic Orchestra
Pokarekare Ana is a traditional love song from New Zealand that was originally written in Maori. The original piece dates back to 1914, and is considered to be a New Zealand folk tune describing the love that two people share for one another. Hayley Westenra, in this recording, is able to create a more modern and up to date version of this song. Her vocal control and ability are stunning for someone who is so young, and her ability to maintain pitch is very moving. In terms of Campbell, I find this rendition a recreation and extension of a already familiar tune. Westenra is able to modify the tune slightly in order to provide her vocal range a few more challenges and performance practices much like I would with a Karl King march for concert festival. She maintains the melodies, harmonies and keeps her vocal inflections in line with string instruments which is indicative of music of New Zealand. Her instrumentation choice is a synthetic orchestra which is not "original world music" however it keeps with the tone and overall message of the piece. Do you feel that technology is something that hinders the "originality" of a piece of music? Does the use of technology deplete the authenticity of the world music? Does technology hinder our ability to educate students on world music? Listen as she controls her voice with not only pitch but also dynamics. This is not common in "cultures that do not provide classical training." Does this mean that this is an invalid example of "world music" to use in my class?

Module 4 Listening Blog = Tarun Sufi

1) Title: Challa
2) Performer: Tarun Sufi
3) Culture/Origin: Middle East, Pakistan
4) Instrumentation: Male Vocals
5) When I first found this music video, I was really captivated by the overall melody and visual images of the middle east. The way the melodies and harmonies become intertwined allow the music to speak and be understood without a translation of the music. The performer, Tarun Sufi,  is not the first performer to record the song Challa. There are other examples of this particular song title, however the meanings of the lyrics are unknown to me. Sufi takes a more popular spin on this piece in particular, almost mimicking some forms of American or European popular radio genres. The authenticity of this piece of music is skewed in my opinion. While I feel that the lyrics are genuine and of the Middle East, I find that the original context of this song was intended for a different meaning. While I feel that this could be beneficial from an educational standpoint, it may not be the intended design, use, or application of the piece. Are all reproductions "misused"? Is there a way to used non authentic music for authentic education? Of Course!!

Week Three Blog Post - Brazilian Jazz Ensemble

1. Viajando Pelo Brasil
2. Brazilian Jazz Ensemble
3. Brazil
4. Soprano Sax, Tenor Sax, Vocals, Drums, Guitar, Piano, Bass
5. While Jazz is a genre I really enjoy listening to as well as studying, I have always enjoyed hearing types of Jazz music performed in other countries simply to hear how they are able to manipulate, change, modulate and create a whole new sound when it comes to Jazz. In this particular example, the musicians have given a very fresh look on how sounds can be used to create unison rhythms and sounds for longer periods of time. Typical of Jazz, there are some sections where there is call and response, improvisational solos, as well as modulations through chord changes. The ensemble continues to expand the boundaries of sound textures, blend and balance. With the Female vocals in both unison and harmony with the main saxophone lines, it creates a different sound for jazz musicians. As the piece moves ahead, there are some repeated sections in the ensemble however the melody always seems to change ever so slightly as the piece progresses. Finally, while the piece does not "cadence" into a resolved ending as in most "classical" music, this piece does end with a rubato feeling in the accompaniment allowing one final solo for the soprano and tenor sax.

Listening Blog Week #2

1. Unknown Title
2. Sarath Kumarasinghe and accompanying musicians
3. Sri Lanka - Esraj Music
4. Sitar(Bowed) Wooden Piccolo, Mandolin, Percussion, Guitar, Keyboard, 
5. When listening to this piece of music, I feel a great connection with the Indian and Sri Lankan culture because of how long these cultures have continued to survive and produce music. The melodies and harmonies produced by theses instruments and the rich culture that surrounds Sri Lanka always provides a positive musical experience. The instrument classifications of Sri Lanka are typically going to be Chordophone, Membranophone and Aerophone. The percussion section keeps a steady beat for the ensemble to follow unless the sitar is playing a solo. As the melodies become intertwined with the rhythms, time flows regularly against the syncopated rhythms and ruboto within the soloist. I find this music to not only be rich in culture but also very enjoyable to listen to. 

La Bamba - Region of Veracruz - Mexico (Week 1)

1. La Bamba
2. Los Nacionales De Jacinto Gatica (Quintet - Sones Jarachos)
3. Mexico - Region of Veracruz
4. Arpa Jarocha (Harp), Lead Vocals, Mandriola (Mandolin), Jarana Jarocha (8 String Guitar) and Acoustic Guitar
5. Ethnomusicologist have given musicians the insight and information necessary to  understand the music of different cultures and different corners of the world. With the use  of travel, field experience and full understanding of the language and traditions,  ethnomusicologist have been able to provide new soundscapes and genres of music to our ears. The region of Veracruz is known for its lively, invigorating and up beat folk music. La Bamba, a folk song and dance tune,  is an example of this style of dance music. In the style of Son Jarocho, this traditional wedding dance/song brings together Spanish and African elements. Both of these elements would not be known if it had not been introduced to us by ethnomusicologist nor would it ever reach the classroom to instruct our students on the musical styles of Mexico. 

   

Initial Post - Checking Link

Hello Everyone,

This initial post is to make sure that my blogspot works for the MUG 6935 Summer B Class, Section 4G03. I am very much looking forward to this class where will will discuss the music of the world and cultures. Below you will find our weekly post outline.

1. Title of piece
2. Performer(s)
3. Culture or Origin
4. Orchestration
5. a one paragraph reaction to the piece that makes connections to course readings/discussion (see a specific weekly focus for this paragraph in the Assignments section)

Check back later this week for my first blog submission!!