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UNSUR MUSIC
of his host asked him (through an interpreter) what part he liked most. 'The first part,' he said. "Oh, you enjoy the first move?" "No, before that!".
For foreigners, the first part of the show is the time alignment. That was music to him, and who wants to say otherwise? The host. Music, therefore, although it is a universal phenomenon (the scientists even send music in a plane-spacecraft, hoping to communicate with intelligent bodies in the solar system far), gets its meaning from culture, and culture Different cultures interpret it different. Culture is a way of life of a society as a whole. Here used the term culture-music (music-culture) to point to a group of community involvement with music. According this, the European musical culture determines that the voice or the sound made by a harmonious symphony musicians are not music.
Called music as music, but not all-music culture has a word for it. Writing about Rosa, a village Yugoslav Macedonia, Nahoma Sachs points out that "Rosa-rosa not traditionally have a general equation with 'music' England." They divide the sound levels that could be called music by the American people into two categories: pesni, song- songs, and muzika, instrumental music '(Sachs 1975: 27). Of course, the difference between the songs and music are found in many parts of the world, even in the United States. The Baptist in ancient times in the South often say, "We do not have music at Mass, we," meaning they do not have instrumental music that accompanies their singing. Other musical cultures have words for some types of songs (songs ninabobok, epic, historical songs, etc.) but not a comprehensive word for music. Partly because we have such a broad term for music in English, then we could write a book like this.
In essential, a lean-music culture in the society itself-their ideas, actions or their motion, and the sounds they produce (Merriam 1964: 32-33). Humans think that the culture-music consists of four components in each run, which we will describe here. The four were first placed in the form of the questions you can ask about a culture-music is not known (or even known). As you read this article, and when you prepare your field research project, see how each culture-music that you meet can be reviewed through your specific answers to broad questions of this very abstract. Whereas now, when you read this article, select culture-music which you are familiar and the familiar (classical, jazz, new-wave rock, etc.) and see how culture-music-petanyaan questions will measure this.
Four Components of Culture-Music
1. Ideas about Music
a. Music and Belief System
What is music? Is music that is human or divine (or both)? Is the music good and useful to mankind? What is potentially harmful? These questions are at the top reaches into the basic ideas of human culture, arts and cultural universe of music. Cultures vary widely in their answers to these questions, and answers were often very vague, even paradoxical; culture embodied in rituals in which they try to unite in love and hate, life and death, natural and beradap. Even within one culture-music, the answers may change with the times: a Christian in the Middle Ages (Medieval) would have a confused understanding about one of today's jazz mass.
b. Music Aesthetics
Whenever a song called beautiful? When is a song sung by beautiful? The sound quality of what is fun, and what pleases the ear? How should a musician dressed? How long should a Major (performance) last? Once again, not all cultures agree with aesthetic questions which involve assessments of what is right and what is beautiful. Some Americans regard China as a singing-opera strained and artificial, but so also some Chinese people regard the European bel canto style of opera as an inappropriate and unpleasant. Culture-music can be characterized by the preferences in sound quality and performance practices, which are all aesthetic discriminations.
c. Context for the Music
When should musuik displayed? How often? In what events? Again, every culture-music answer questions about things that surrounds this music is different. In the modern world, where the context can depend on only a stepping of the switch on-of and "person-walking" (walkperson) that can move, it's hard to imagine the days past when all the music comes from face-to-face live performances. Human great-great grandfathers had to sing or play the drama, listening to music, or ask someone who was nearby, they can not produce it on request from the radio, television, record players, tape recorders, or computers that are not tangible. How you been listening to a band penyayi or a hundred years ago if you think that this might be the only time in your life, you can listen to music!
Of course, the three categories of ideas about music that we just talked about this-the music and belief systems, aesthetics, and context-overlap. In most culture-music, music is "good" (good) music tied to a "beautiful" (beautiful) and took place in the proper context. Thus there must be a separation for the sake of convenience.
In addition, individuals with culture-forth often differ in their ideas about music. Ragtime, jazz, and rock 'n' roll, its revolutionary when all music was introduced. They met (and still see) the resistance of some of these Americans. Resistance is based on aesthetics (music is considered a loud and horrible) and context (music-related lifestyle considered include drugs, free love, radical politics, and so on). If music, worlds within the world-music. In fact, most of the culture-music can be divided into several sub-cultures, some contrary to some others: classical versus rock 'n' roll, for example, or (from the previous era, sacred hymns versus-dance music and song nyanian to drink. Often the sub-sub-culture of these areas overlap: the show from a hymn of praise in a Minnesota church involve region (upper Midwest), ethnicity (eg Germany), religion (Lutheran), and so on - all basic to the sub -sub-culture of music. Is the sub-sub-culture of music that you identify most strongly? What do you dislike most? Does your preferences based on context, aesthetics, or belief system?
2. Music Charities
Social organization refers to how a group of people share, manage, or self memeringkatkan. The total number of ideas and performances (performance), music is not evenly divided among the people in a culture-music. Some perform more often, while others almost never. Some make music for a living, while some others paid little or even no compensation. Because age and gender, children, women, men, and old people sing different songs. Racial, ethnic, and working groups also sing special songs of their own, and each group is given the role of his own music. All this issue is related to social organization culture-music, which is based on ideas about music-music culture, as described above.
Often the distribution of music behavior similar to the social division within the group so that normal activities reinforce that culture. For example, when the African pygmy pygmy-singing as a group, each person having a part to build a complex overall is very integrated. Researcher Alan Lomax suggests that performances like this that involve cooperation symbolizes Pygmy pressure on the coordination of cooperation in other areas of life, such as daily work (Lomax 1976: 41; Turnbull 1962 for clear descriptions of life and Pygmy music.)
On the other hand, the music often runs against a string of broad culture, especially at festival time, or at important moments in the life cycle (initiation, marriage, funerals, etc.). Communities on the outskirts of culture becomes important when they play music for an event, but also understand its power and often even seen a miracle in their work. Two of music's most important feature of the social organization of music are: the status and role: the prestige of the music-makers, and the different roles given to the culture-music community. Many musical situations in this book relies on basic aspects of social organization.
3. Music repertoire
Repertoire is a collection of performance prepared, and cultural repertoire-music is what most of us consider "the music itself" (music Itself). Repertoire consists of six basic parts, namely: the style, type of flow, text, composition, deployment, and movement.
a. Style (style)
Included here are all related to the organization according to the sound of the music itself: the elements of bridge tone (scales, modes, melody, harmony, penselarasan system, and so on), the elements of time (rhythm, meter), color elements tone (sound quality, tone color isntrumental), and density of sound (hard and soft). All this depends on the cultural aesthetics-music.
Taken together, the style and aesthetics to create a sound that can be understood by a group known as his own. It can be seen in Kasena, people living in Ghana African countries, much like their own music than the music of their neighbors, Frafra living on the streets. They say that Frafra "has only one way to play, while we have many". But for most Americans and Frafra Kasena society, the music sounded the same. Whether it's music the same? No, if each group could distinguish his music. Outsiders who studied music Kasena know that he get something if he, too, can recognize the difference between music and Frafra Kasena and put the difference into words or music.
b. Flow Type (Genre)
The types of music are the standard units repertoer that is named, such as 'song' and various kinds subdivisinya (eg, ninabobok songs, Christmas songs, wedding songs) or many types of instrumental music and dance (jig, reel, wltz, and etc.) Most of the culture-music has many kinds of large, but their terms are not always in accordance with the terms of other musical cultures. Among the Yoruba in Nigeria African countries, for example, kings, chiefs of the ruling, and the nobility to maintain singers sing songs of praise to songs of praise for them (Olajubu 1978: 685). Songs of praise called oriki. Although can approach described the English name for (songs of praise), but there is no flow of the same type currently in Europe or America.
c. Text (Texts)
The words to a song known as the text. Any song with the words is the intersection of two major systems of human communication is very different: the language and music. The song with the words while the second is the fabric of this system, and for convenience we can see them one by one. Each text has its own history, often a single text has melodies connect the different. On the other hand, a single melody could be enough for some text. In blues music, for example, text and melody lead independent lives, with the desire to strengthen as a singer. The song itself (language and music together) is the unit can be known, a strong emotional connection with her own right. Any person who has been abroad and suddenly heard a song known homeland know how strong this effect.
d. Composition (Composition)
How music enters repertoer-music culture? What is the music composed by an individual or by group? Does the music still, vary widely within certain boundary lines, or diimprovisasikan spontaneously in the show? Improvisation makes astounded many ethnomusicologists, and we are no exception. Perhaps at the level of improvisation can be appreciated not only because of the skills involved, but because it can demonstrate improvisation as an example of human freedom. The composition is also tied to social organization: whether music has a class-culture kkomposer speial, or could someone composed the music? The composition associated with ideas about music, some music-culture divide music into songs that are composed by humans and the songs are "given" (given) to humans from the gods, animals, and other composers nonhuman .
e. Spread (Transmission)
How can music be studied or understood and is caused from one person to the next, from one generation to the next? What is culture-music depends on formal instruction, such as in South India? Are there systems of musical notation? What is a body of music theory underlying the process of formal instruction? How much of the information learned through imitation? Does music change over time? If so, why and how?
Some culture-music music pass through the pupil-teacher relationship that lasts for a lifetime. Teachers become parents, who teach values and ethics as well as music. Situations like this music really become "a way of life" (a way of life) and the student is "dedicated" (Devoted) to display the music teacher. In the culture-culture-music, there is no formal instruction, and musicians aspiring to collect bit by bit from watching and listening, usually through the years. In these situations, it is helpful if he grew up in a musical family. When the repertoire is spread primarily by example and imitation and run from memory, we say music exist "in the oral tradition" (in oral traditional). Music on the oral tradition shows greater variation through time and space than the music that is bound by a written musical score, definite.
f. Movement (Movement)
All levels of physical activity accompany the music. Playing a musical instrument, alone or in groups, involves the activity of music, but also resulted in a cultural movement that defined that can not be separated from the music itself. That is, the music is quite literally move people (dancing), and the movement is a fundamental part of the show. How odd berforma become a rock band without a movement in response to their music, in ways that allow viewers to understand what they feel, are shown today by some new-wave rock band. Groups, such as Rolling Stone, projecting images of the inside. In one way or another, starting with the movement of music in the repertoire of every culture.
4. Material Culture Music
Material culture refers to "things" (Things) material, tangible, physical objects that can be seen, held, felt, and used (non metefisik) --- which is produced by the culture. By examining the means of culture and technology can tell us about the history and lifestyle groups. Likewise, research on the material culture of music can help us understand the culture-music. Body 'things' most live in it, of course, is a musical instrument. We can not hear the actual sound of a musical performance for ourselves before the 1870s when the phonograph was found, so we rely on instruments of music-cultures to vital information in times past and its development. Here we have two types of evidence: the instruments that are kept more or less intact as the old Sumerian harp more than 4,500 years, and the instruments described in the art. Through the study instruments, and also painting, writing documents, and so on, we can explore the movement of music from the Near East to China over thousands of years ago, or we can describe the spread of the influence of the Near East to Europe caused by the development of the instruments inside sebag ian symphony orchestra.
We ask-music culture of today, who makes the instruments and how these instruments are distributed, what is the relationship between-instrument maker with musicians; how tastes and musical styles of this generation, more than taste and style of the older generation, which is reflected in the instruments being played, and so on. Often the musical instrument into a patriotic symbol of cultural music heritage. Examples are the instruments of the bag-pipes in the Scottish Highlands or the ancient Celtic instrument that was built back from the people of Britain and Ireland.
Sheet music, too, is material culture. Scholars once defined culture as the culture in which folk music masyarakata learn and sing music by ear rather than from the story, but research shows the mutual influence between the sources of oral and written sources in the last few centuries in Europe, Britain and America. Print versions because it tends to limit various types of tack of a song, but paradoxically stimulate people to create different songs and new. Bertrad Bronson observes that ballad texts printed tend to solidify the memory of words on the people, but failed to curb their interests in a variety of melodies (Bronson 1969: 61-62). In addition, the ability to read music has far-reaching effect on the musicians and, when the ability is widespread, in-music culture as a whole.
One part is more important than music metrial culture should be split up: the influence of electronic media-radio, recording equipment, tape recorders, television, and video-tapes, computer sing and speak with a promising future and other developments. It's all part of the "information revolution" (information revolution), the phenomenon of the 20th century as important as the industrial revolution in the 19th century. Electronic media is not just limited to the modern states, but also has influenced cultures around the world-music.
C. World-Music
Mixing of cultures, music is in progress worldwide, and this fact often makes it hard to separate us in the traditional musical styles' but it would be wrong to assume that the musical cultures praelektronik unchanged. Speaking of Eastern Europe (Eastern Europe), more than half a century ago, Zoltan Kodaly said:
Folk tradition is not considered as a homogeneous whole uniform, but varied substantially according to age condition, social and material, education, districts, and gender. Around the year 1910, a sharp difference exists between-song repertoire of the three main life ages. People aged aged and old age in rural areas not only sang the songs of young people, but usually do not understand it. Also the younger generation does not understand the older generation songs ... (Kodaly 1960: 20).
In other words, the music changes and contact-culture (culture-contact) and the mutual-exchange does not begin with electronic media. Christian praise songs of American Indians, for example, resulting from the work of missionaries who owned when Europeans first came to the Americas. Media has accelerated the pace of change, and has influenced him to support culture-music industry. This musical cultures are ready to access media and the music tends to encourage the rural music and ethnic music in the basement or out altogether.
But music is one element of a dynamic and liquid culture, which changed to adjust the expressive and emotional desires of mankind, things can change most of the animals. Like all expressive cultures, music is an odd human adaptation to life on planet earth. Each culture-music to the next musical culture, but it would be foolish to say that one culture-music "better" (better) than the other-music culture. Why? Because such an assessment is based on the criteria of the single-music culture. Calling music a culture-music "primitive" (primitive) is the same one has to impose its standards on the groups that do not recognize it. Such ethnocentrism has no place in the study of world music.
In the writings of the above, can be seen exploration of some of the world, in the worlds of music. While each world can seem strange the first time, but things are organized, purposeful, and coherent. Each world can be considered as an ecological, with the power which combine to make-music culture (ideas, social organization, repertoire, movement) in a dynamic equilibrium. A change in any part of the ecosystem affects keselruhan him. In our world music studies, often separating the parts of the culture-music and give the impression that this is the manner or style of the parts of it or that parts of the music-culture for the study is the simplification of the excess; the worst, unrighteousness. But with the activities of lessons and materials, this is only a discourse.
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