0.9 Chapter 8: world music  (Page 2/11)

1. Music and dance. Linguistic scholars have been hard-pressed to find a single word that means “music” in many African languages. Music and bodily movement are usually considered part of a single whole, and sound cannot be separated from the cultural (and often religious) function of musical performances.
2. In many African cultures, music and dance are considered communal activities; the Western idea of sitting silently while a performance is taking place is an anathema to these traditions. Many musical techniques that are shared by African musics—particularly the idea of “call and response,” where a soloist or group of performers will engage in short exchanges with other performers—seem to have arisen from this communal attitude toward music-making.
3. Oral traditions. Nearly all African traditions have been passed down orally, and their study by Western scholars has often involved the transcription of performances into Western musical notation, which often proves woefully inadequate for the job. The influx of Christian choral music, especially in the southern regions of Africa, has resulted in music somewhat more easily notatable, and some African musicians do now use the familiar five-line system to capture their art.
4. In many African traditions, rhythm—the way music moves through time—seems to be privileged over melody and harmony. Many African performances are highly polyphonic and made up of several layers of interlocking rhythmic ostinatos, which are combined to create an overall effect suitable for the religious or cultural ceremony for which the sounds are being produced.
5. Instruments. The variety of instruments found throughout Africa is astounding. Perhaps most impressive is the range of percussion instruments (both idiophones and membranophones) that are often combined with distinctive uses of the human voice. In listening to performances of African music, those of us immersed in the Western musical tradition may be initially drawn to the vocal line as the most prominent feature, yet it may just be one element of a larger, complex musical texture.

India

North indian classical music (hindustani sangita)

Music from the Indian subcontinent is one of the non-Western repertories that has fascinated Western musicians and audiences in recent decades. Improvisation is central to the performance of North Indian classical music (Hindustani music) and is mastered only after years of study with a guru. The skeletal elements from which the improvisation springs are the raga, an ascending and descending pattern of melodic pitches, and the tala, the organization of rhythm within a recurring cycle of beats. Rather than the 12-semitone octave of Western classical music, Indian music divides the octave into 22 parts. Although only some of those 22 pitches are used in a particular raga, the complexity and subtlety of Indian melody is attributable in part to this relatively large vocabulary of pitch material. With respect to temporal organization, Indian music organizes spans of time into cycles of beats, somewhat comparable to the Western concept of meter. But whereas Western composers have worked predominantly in a framework of time spans divided into repeated cycles of two, three, or four beats, the time span of a tala is comprised of units of variable length, for example, a 14-beat tala of four plus three plus four plus three beats. A tala may also be of enormous duration in comparison with a Western measure, which rarely exceeds a few seconds in length.