Music Appreciation Class Broadening Perspectives
Identifieur interne : 002041 ( Istex/Corpus ); précédent : 002040; suivant : 002042Music Appreciation Class Broadening Perspectives
Auteurs : Hao HuangSource :
- Music educators journal [ 0027-4321 ] ; 1997-09.
English descriptors
- Teeft :
- Baroque music, Baroque opera, Beijing, Beijing opera, California press, Chinese music, Classical music, Direct influence, Englewood cliffs, European music, Geographic perspective, Important resource, Instrumental music, Islamic civilization, Many cultures, Medieval european, Music survey, Music theory, Other musics, Prentice hall, Standard music appreciation course, Students encounter, Syllabus, Western music, Western musics, World music.
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DOI: 10.2307/3399066
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Huang</surname><given-names>Hao</given-names></name><aff>Associate professor of music at Scripps College in Claremont, California, and is also on the music faculty of Claremont Graduate University</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>09</month><year>1997</year></pub-date><volume>84</volume><issue>2</issue><fpage>29</fpage><lpage>33</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Music Appreoation Class Broadening Perspectives Multicultural music can be introduced into the standard music appreciation course in several ways that are concise and relevant. By Hao Huang Multiculturalism has become such a point of contention in academia that the word itself can evoke tensions and contradictions that deeply affect music teaching methodology. Conflicts may arise between the generalist and the specialist: giving a worldwide context to specific information could lead to a superficial approach that might appear to devalue hard-won competence in a specialized field. Yet there is an increasing demand to teach music from a broad historical and geographic perspective. This extension of multicultural horizons could be so general as to become vague, yielding to the law of diminishing returns. On many college campuses, the standard music appreciation course is the principal opportunity for the music faculty to reach students who aren't music majors. By introducing the layperson to the history and repertoire of Western art music, music appreciation courses remain the best hope for building audiences for the music to which most academic musicians have devoted their lives. How- Hao Huang is associate professor of music at Scripps College in Claremont, California, and is also on the music faculty of Claremont Graduate University. BY HAO HUANG ever, to remain a vital offering in the music department catalog, music appreciation classes cannot ignore contemporary academic discourse on mul-ticulturalism. Judiciously integrating a non-Western element into the standard music appreciation survey course could be one way to reach a satisfactory resolution. There is an increasing demand to teach music from a broad historical and geographic perspective. Issues of cross-cultural inclusivity generally should be addressed outside the syllabus of a course that, by definition, focuses on one particular tradition. How can reference be made to non-Western musics in the standard music survey without obscuring the primary focus on Western art music? To do so takes valuable class time away from an already crowded syllabus. If to specialize in Western art music is defensible, why not do so uncompromisingly while directing students to world music courses? What, besides the possibility of declining enrollments, are the reasons to widen the geographic horizons of a music appreciation survey course? Considerations for the Syllabus The key to productively integrating non-Western musics into the standard music appreciation syllabus may be to choose them for their relationship to the Western musics under consideration. This relationship may be founded on one or more of the following conditions: Historical antecedence in the development of a particular concept or instrument. One example is the Middle Eastern origins of some medieval European musical instruments and styles. Identifying historical origins of Western music outside certain geographic limits can engender controversy perhaps because much of the evidence for such a relationship is circumstantial. However, there is a growing weight of scholarly opinion that points toward this direction. Analogous art forms across cultures exhibiting similar aesthetic, rituaU or EPTEMBER 1997 29 social functions or systems exhibiting similar structure. For instance, Western opera, Chinese opera, and Japanese Kabuki are examples of combining music, words, and stories drawn from myth or history and elaborately staged for comprehensive entertainment. Alternatively, Western scale systems, Iraqi and Persian modal systems, and Indian raga express analogous concerns with selection of a limited vocabulary of pitches, identification of structurally important pitches within a scale, control of behavior of neighboring pitches, and control of modulation. Direct influence of a particular non-Western tradition upon the thought of significant Western composers. Examples include the impact of Javanese game-Ian music on Debussy; of jazz on Ravel, Milhaud, and Stravinsky; and of Indian classical music on Glass and Reich. Cross-cultural comparison of musics acknowledges that there are non-Western systems of art music with millennia of history and elaborate theoretical foundations that must not be ignored to understand Western music. Three pedagogic rationales for including non-Western musics in the syllabus stand out: 1. Abstract concepts are better understood when encountered in a variety of applications. The awareness of common classical Greek roots of music theory for various Middle Eastern musical cultures and European classical music allows us to recognize analogous intellectual principles in divergent musical traditions. Concepts governing pitch selection and organization, metrical organization, and even emotional affect acquire an altogether different resonance when students encounter them in a variety of utterly distinct musics. 2. Widespread fallacies regarding Western music are dispelled by contact with non-Western musics. Misapprehensions about Western classical music, both positive and negative, are not limited to the layperson. These include the false dichotomy that Western art music is aesthetic whereas non-Western musics are functional; the idea that the formal parameters-the rules and conventions-of Western art music are phenomena absent from other musics with continuing traditions of improvisation; and the assumption that European music was at all times autonomous and self-generative. Such notions evaporate when students encounter non-Western musical traditions combining technical sophistication and music theory, which have made distinct, historical contributions to the West. Middle Eastern performance practice is becoming an important resource in the reconstruction of medieval European instrumental music. Alexander Ringer writes that by teaching an awareness of the material consequences of cross-cultural contact between East and West, the Eurocentric orientation of much previous musicological scholarship can be examined and challenged: The weight of both direct and circumstantial evidence pointing to Islamic civilization as a fountainhead of European art has steadily increased. The musicological establishment, fighting a remarkably successful holding battle, has nevertheless managed somehow to admit Islamic influences not farther than the Franco-Spanish border … musical scholars have displayed amazingly little curiosity as to how their particular subject of investigation might have been affected by those giant migrations in which people from every stratum of medieval society participated [the crusades].] 3. Listening skills are both honed and validated by applying them to various traditions. Ethnological issues surrounding the creation and performance of music are often culturally specific; the actual materials of musical structure frequently are not dependent on culture. Listening skills developed with reference to Western music can be meaningfully applied to students' experience of any music. These are based on fundamental aural analytic categories, such as pitch, motive, rhythm, timbre, and form, which are common to many musics worldwide. Ethno-musicologist Bruno Nettl describes some of these musical procedures and claims that they are universal: There is some redundancy, some repetition, balanced by some variety, articulated through rhythmic, melodic, textural means…. The musical utterance consists of smaller units which are fairly well marked … [these] may be (and in Western culture have been) defined as tones, notes, motifs, chords, phrases, sequences, and in a sense they are comparable to phonemes and morphemes in language, a lexicon from which, given certain rules, a music-maker may draw to create old and new musical utterances.2 The ability to recognize these root organizational units and principles can enhance students' overall musical appreciation and can lead to an understanding of general principles of the organization of musical information. Inclusion of non-Western musics can enhance the syllabus for a Western art music survey in numerous ways. For example, the syllabus could introduce certain Arab and Turkish instruments as historical antecedents of medieval European instruments. It could present Beijing opera as an analogous art form to baroque opera. Iraqi maqam, Persian dastgah, and North Indian raga could be presented as melodic pitch organizations analogous to systems in Western music. Jazz could be covered as a direct influence on the jazz-influenced musics of nineteenth-century Europe and twentieth-century America. These examples rep- USIC EDUCATORS JOURNAL 30 resent just a few of the many non-Western (or nontraditional) options one might consider including in the syllabus. (The Selected Resources on World Musics sidebar lists materials that might be helpful in preparing the syllabus.) Historical Antecedence Gregorian chant, often the chronological starting point for a Western art music survey, bears a relationship to Middle Eastern cantillation. As with Gregorian chant, Hebrew cantillation and Islamic cantillation continue to be practiced today. The striking resemblances among these chant styles facilitate discussion of their common definitive features: monophony without instrumental accompaniment, absence of meter, the ornamented vocal style known as melisma, narrow pitch range, and predetermined pitch collections that in the West are called “modes.” Some scholars point out close resemblances between medieval organum and Middle Eastern maqam, going so far as to assert that melismat-ic organum owes its development in part to East-West contacts. Ringer writes: Striking affinities in range and texture of the melismatic portions [of medieval organum] with certain types of maqam improvisations practiced in the Middle East to this very day … associate the genesis of twelfth-century organum with that most massive source of contacts between the medieval East and West, the crusades. Purely stylistic reasoning along these lines is reinforced by structural evidence.3 Early Western instrumental music owes a debt to the Middle East. This may be attributed to the cultural cross-fertilization sparked not only by the Moorish invasion of Spain in 711, but also by the two centuries of the crusades (1095-1291) and the often overlooked earlier Byzantine cultural influence on parts of Europe.4 New instruments crossed the Pyrenees; others were brought back from the Middle East by armies and traders.5 Cru- saders not only battled the mainly Turkish forces of the Muslim Saracens in the Middle East; they also quickly adopted Arabic and Turkish instruments such as the naqqarah, which was transliterated by Europeans as “naker.” Joinville, in his Life of St. Louis, documents this in his description of the battle of Mansourah in 1250. “King Louis came up at the head of his battalions, with a great noise of shouting trumpets and nakers.”6 Early Western instrumental music owes a debt to the Middle East. The etymology of other late medieval and early Renaissance European instruments sheds light on their origins: the Arabic al-ud (literally, “the wood”) is the root for the lute, the rabab turns up as the rebec, the tar metamorphoses into the guitar, the tabla drum appears as the tabor, and the zarna shows up as the shawm (the original Arabic instrument is said to have terrified the crusaders and still survives).7 Performance on these instruments has continued in the Middle East to the present day. This is why Middle Eastern performance practice is becoming an important resource in the reconstruction of medieval European instrumental music. David Munrow writes: In Istanbul it is a regular occurrence to hear a shawm and drum playing in the streets. The shawm player walks slowly in front, cheeks puffed out, blowing incessantly without pausing for breath__It is fortunate that there are so many folk survivals of the shawm since they can teach us much about the instrument's history. Ensembles of shawms, trumpets, and drums formed the typical Saracen military band during the time of the crusades. The pomp and splendor of the Saracen bands … impressed the crusaders and encouraged them to form similar bands of their own. An alternative French name for the buisine was cor sarrazinois (Saracen horn).8 Intriguing questions about the cultural consequences of the crusades may be raised by juxtaposing Turkish (Saracen) folk dances (JVC Video Anthology of World Music and Dance, 16-4) with early European dances such as the Saltarello (The Norton Scores, CD 1-7). Both works feature the shawm, inviting fruitful cross-cultural comparisons.9 The Moorish musical influence on Europe, through Spain, is explored by study of the lute and its playing technique. Performances by Arab virtuosos on the ancestral unfretted ad (Arabian Classical Music CD on the Ethnic label B6735) can be contrasted with performances on the lute (Music of the Crusades CD on London “Jubilee” series 430264-2LM; Lute Music from the Renaissance CD on Entree 0046). David Munrow writes: In the Middle East today you can still buy the most exquisitely made lutes, particularly in Damascus, which is regarded as the Mecca of lute making. The old playing traditions survive too, giving us a good idea of what the monophonic style of the Middle Ages was like.10 Analogous Systems or Art Forms The concept of modes in European music invites making yet another connection to the Middle East. The elaborate rules governing maqam (the main modal unit of Arabic music) and dastgah (the principal modal unit of Persian classical music) involve sets of pitches in a hierarchical order; define behaviors for pitches within scales, SEPTEMBER 1997 31 Selected Resources on World Musics General Studies Bohlman, Philip V, ed. Excursions in World Music. Englewood Cliffs, NJ: Prentice-Hall, 1992. May, Elizabeth, ed. Musics of Many Cultures: An Introduction. Berkeley: University of California Press, 1980. Myers, Helen, ed. Ethnomusicology: Historical and Regional Studies. New York: W. W. Norton & Co., 1993. Titon, Jeff Todd, ed. Worlds of Music. New York: G. Schirmer Books, 1992. Specific Readings Brandon, James, William Malm, and Donald Shively. Studies in Kabuki: Its Acting, Music and Historical Context. Honolulu: University Press of Hawaii, 1978. Chernoff, John Miller. African Rhythm and African Sensibility. Chicago: University of Chicago Press, Phoenix Books, 1981. Mackerras, Colin. The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China. Oxford, England: Clarendon Press, 1972. McPhee, Colin. Music in Bali. New Haven, CT: Yale University Press, 1966. Nketia, Joseph H. Kwabena. The Music of Africa. New York: W. W. Norton &Co., 1974. which may differ in ascending and descending order; control composition structure; and prescribe modulation technique. Much of this is parallel to Western constructs, revealing common roots in classic Greek music theory Arab theorists translated music theory from the Greeks in the ninth century in Bait al-Hikma in Baghdad, five hundred years before the European Renaissance.11 The maqam and dastgth complexes relate to European modes as parallel attempts to create an extended family of pitch organizations, types, and treatments. Similarly, the baroque Doctrine of the Affections (the practice of building a piece on a single “affection” established by a striking musical subject), which seems to relate to the classical Greek Doctrine of Ethos (different modes have specific emotional qualities that affect people's wills), is given comparative meaning by exploring the Middle Eastern association of different regional melody types with different emotional contents. Concern with the effect of music on human beings, the relationships between musical elements such as mode, melodic pattern or pitch, and association with moral and ethical qualities transcends cultural boundaries. With baroque music, students encounter opera with its classical plots and formal conventions. Beijing opera can be considered in tandem with baroque opera. Myriad differences in particular details can be complemented by significant analogous concepts. For instance, European homophony can be contrasted with Chinese heterophony A small baroque ensemble of strings and winds playing figured bass accompaniment can be compared to a Beijing operatic instrumental ensemble dominated by a percussion section. European ballet can be contrasted with Chinese acrobatics. Also worthy of study are different vocal techniques and different instrumental timbres. Despite their differences, both kinds of opera evolved from modest beginnings into large-scale courtly entertainments synthesizing poetic text, music, dance, and visual spectacle. Baroque opera can be tracked from the small circle of the aristocratic Florentine Camerata in 1600 to the courts of Rome in 1632 and Paris in 1647.12 Beijing opera can be traced from China's northern regional folk drama, k'un-ch'u, of the 1500s, to Ching-hsi, the refined eighteenth-century Beijing opera of the Ch'ing court.13 Both baroque and Beijing opera use arias, recitative, and instrumental music. Both use plots drawn from ancient legend depicting idealized protagonists and intensified emotions. Musical conventions in both traditions announce a character's social class, the state of his or her mind, or even the state of the weather. Music can depict details of relationships between characters who interact in formal set pieces. Certain types of music identify particular stock characters. Both baroque and Beijing opera favor artificially high male voices- countertenor and castrato for Europeans and a nasal falsetto for men in female roles for the Chinese. Both involve idealized images of society- the pastoral Greek or Roman myth for Europeans and classical history from the Warring States period for the Chinese.14 In both operatic traditions, dramatic scenes can be found that feature women at the point of committing suicide, each betrayed by her lover. In Purcell's baroque opera Dido and Aeneas, Dido has been betrayed by Aeneas, who abandons her and leaves her in a suicidal state in which she sings her famous aria about death.15 In the Beijing opera Farewell to the Favorite, the concubine's lover has been lured into a fatal trap; his troops have deserted; and he has betrayed both himself and his family through recklessness. The female protagonist chooses to cut her throat rather than lose her virtue by submission as a spoil 32 MUSIC EDUCATORS JOURNAL of war. Hence, a comparison of two laments can be made: Dido chooses to die, having lost her honor, and the Favorite prepares for death as a means to save her honor. Chen Kaige's film version of the opera, Farewell My Concubine, invests Beijing opera with an emotional content likely to be entirely absent from the American audiences experience of Chinese music. Instructors who are comfortable creating sound mixes could use comparable techniques to create “visual mixes” to involve as well as instruct students. The key to productively integrating non-Western musics into the standard music appreciation syllabus may be to choose them for their relationship to the Western musics under consideration. Direct Influence A unit on jazz and its effect on European art music becomes appropriate as the course approaches the twentieth century. Interest in jazz, shared by composers from Debussy and Ravel through Stravinsky and Milhaud to the present time, makes this a relevant topic. A prime example of musical creolization, jazz is the confluence of West African and European musical traditions. Furthermore, it is a style of music with which students are usually familiar, and it offers opportunities to explore provocative issues of cultural identity and appropriation. It is particularly ironic that jazz, a music that began as a way for a socially and culturally oppressed people to affirm their African cultural identity, has been transmuted into an eclectic hybrid that has influenced many European art music composers. Conclusion In each case, the non-Western musics mentioned here represent large bodies of scholarship. Therefore, this course cannot offer more than a perfunctory presentation of these musical cultures. However, the goal is not to concentrate on any musical culture other than the classical Western European. Rather, investigation of various non-Western musics is a way to demonstrate relationships between modes of cultural expression. If the goal is to explore such connections to Western art music, comprehensiveness ceases to be primary. Rather, specific areas of relationship can be carefully researched and presented. Must a music appreciation instructor retrain to become an ethno-musicologist? No, although undertaking responsible coverage of non-Western music requires significant additional training and reading. The formal training of a Western classical musician permits application of certain musical competencies; awareness of pitch patterns, rhythmic organization, and formal frameworks are useful in interpreting aspects of non-Western musics. While an anthropological orientation leads to an appreciation of the cultural significance of a work of music, musicians need not overlook opportunities to also investigate formal musical functions in musics other than their own. Teaching from a multicultural perspective challenges the classically trained Western musician to blend previous knowledge with informed cultural inquiry. The possible benefit from such an approach involves enhancing students' aesthetic experiences of Western art music through specific comparative study of other musics. Music challenges individual and cultural conventions, offering the promise of self-transcendence through art. Exploring cross-relationships between Western and non-Western musics is an effort to become sensitive to the richness and complexity of history. It is a responsibility we bear as teachers. Preconceptions and stereo- types about music, both European and other, can be confronted through informed investigation of particular musical elements and their historico-cultural contexts. A music appreciation course can combine the spirit of T. S. Elliot's phrase from The Wasteland, “You are the music while the music lasts,” with that of Walt Whitmans assertion in Song of Myself, “I am large, I contain multitudes.” Notes 1. Alexander L. Ringer, “Islamic Civilization and the Rise of European Polyphony,” from Studia instrumentatorum musicae popu-laris III (Festschrift to Ernst Emsheimer), G. Hillestrom, ed. (Stockholm: Vanersborgs BoktryckenAB, 1974), 189. 2. Bruno Nettl, The Study of Ethno-musicology (Urbana, IL: University of Illinois Press, 1983), 290-300. 3. Ringer, “Islamic Civilization,” 189. 4. Mary Remnant, Musical Instruments: An Illustrated History (Portland, OR: Amadeus Press, 1989), 32. 5. Jeremy Montagu, The World of Medieval & Renaissance Musical Instruments (Woodstock, NY: Overlook Press, 1976), 22. 6. Remnant, Musical Instruments, 159. 7. Remnant, Musical Instruments, 121; Alan Blackwood, Music of the World (Engle-wood, NJ: Prentice-Hall, Inc., 1991), 40. 8. David Munrow, Instruments of the Middle Ages and Renaissance (London: Oxford University Press, 1976 [booklet accompanying LP set]), 8, 19. 9. Joseph Machlis, The Enjoyment of Music, 7th ed. (New York: W. W. Norton & Co., 1995), 92. 10. Munrow, Instruments, 25. 11. Jozef M. Pacholczyk, “Secular Classical Music in the Arabic Near East,” Musics of Many Cultures, E. May, ed. (Berkeley: University of California Press, 1980), 257. 12. Claude Palisca, Baroque Music, 3rd ed. (Englewood, NJ: Prentice Hall, 1991), 32, 129. 13. Kuo-huang Han and Linda Li Mark, “Evolution and Revolution in Chinese Music,” Musics of Many Cultures, E. May, ed. (Berkeley: University of California Press, 1980), 16. 14. Isabel K. F. Wong, “Chapter Four: China,” from Excursions in World Music (Englewood Cliffs, NJ: Prentice Hall, Inc., 1992), 93-100. 15. Henry Purcell, Dido and Aeneas score (New York: Broude Brothers), p. 8. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Music Appreciation Class Broadening Perspectives</title><subTitle>Multicultural music can be introduced into the standard music appreciation course in several ways that are concise and relevant</subTitle></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Music Appreciation Class Broadening Perspectives</title><subTitle>Multicultural music can be introduced into the standard music appreciation course in several ways that are concise and relevant</subTitle></titleInfo><name type="personal"><namePart type="given">Hao</namePart><namePart type="family">Huang</namePart><affiliation>Associate professor of music at Scripps College in Claremont, California, and is also on the music faculty of Claremont Graduate University</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1997-09</dateIssued><copyrightDate encoding="w3cdtf">1997</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1997</date><detail type="volume"><caption>vol.</caption><number>84</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>29</start><end>33</end></extent></part></relatedItem><identifier type="istex">10B4D11D1DB007EE14C2AB8E70BCFC9FC2E1576D</identifier><identifier type="ark">ark:/67375/M70-GQ09972M-L</identifier><identifier type="DOI">10.2307/3399066</identifier><identifier type="ArticleID">10.2307_3399066</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/10B4D11D1DB007EE14C2AB8E70BCFC9FC2E1576D/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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