The Music of Tan Dun

In our class we have often discussed what it means to "compose" a piece of music in different contexts. In the Western sense, composition implies some sort of organized musical notation, usually on staff paper. However, much of the music in the Eastern tradition relies on composing and sharing orally. As technologies have developed over the years, the approach to music, both in the East and the West has changed significantly. Tan Dun, in a recent composition entitled "Internet Symphony No. 1 "Eroica," has utilized the increasing interconnectivity of the internet along with "Mash-up" technology to create a new kind of composition, one comprised of many individual video recordings of musicians from all over the world into one work.

Tan Dun is the first composer to pursue a project like this, and his success has effectively set off a social and cultural bomb in the music community and the world a like.

Here is the final product:
http://www.youtube.com/watch?v=oC4FAyg64OI

A Reflection on Asian Music

The style of music that interested me the most this semester was Gamelan music. I have always been a fan of minimalism in Western music, including composers like Steve Reich, John Adams, and Philip Glass, and I feel that Gamelan music reinforces and justifies the concepts behind minimalism, emphasizing the presence of motion without the presence of harmonic progression. In fact, many modern minimalist composers, including Steve Reich and Philip Glass, have even composed new works for Gamelan ensemble. While it lacks harmonic progression in the Western sense, Gamelan relies on cyclical phrase structure, layering, texture, and timbre to give the music its sense of movement. I was also intrigued by the arrangement of instruments in the Gamelan ensemble, it being almost exclusively percussion (xylophones and gongs). The combination of the repetitive rhythmical layers and the saturating timbre of the gong puts me in an almost meditative state. However, just as crucial to the music as timbre is the specific tuning. Tuning the instruments in a Gamelan ensemble is a tedious process, though it may not sound that way to Western ears. Traditional Western music is based on a 7 note scale consisting of whole steps and half steps, a whole step being the sum of two half steps. These notes exist within the space of one octave. Gamelan music, on the other hand, primarily uses two scales: slendro and pelog. Slendro is a scale with five notes within the octave, all of which are evenly spaced. To Western ears, this sounds quite bizarre. In fact, because the 5 notes are evenly spaced within the span of one octave, many of the notes exist in between the notes of our Western scale. When I heard Gamelan music for the first time, I was perturbed by the music sounding "out of tune." I later learned that it was not in fact out of tune, but tuned to a scale very different from our own that my ears were simply not attuned to. However, since then I have learned to appreciate the "shimmering" quality produced by the unique tuning. It adds a different element to the music that is generally absent from Western tradition.

Javanese and Balinese Gamelan

The most obvious difference between the two Gamelan examples is tempo. Javanese has a generally steady rhythmic structure (melodies being largely quarter notes and eighth notes), while Balinese Gamelan plays more with fast gestures through interlocking parts and rhythmic complexity. Also, Balinese Gamelan seems to put more emphasis on the xylophone instruments as soloistic, rather than only part of the ensemble as a whole. While the Javanese example relies on a well-blended sound created by all the instruments together, the different instruments in the Balinese example seem to fade in and out of presence, being soloistic at times and in the background at others. Different xylophonists tend to exchange virtuosic solos in a call-and-response type manner. The Balinese example also contains more silence than the Javanese example, so many entrances of the instruments are unpredictable and provide a kind of a surprise effect. There are also more featured instruments in the Balinese example, like the flute and a stringed instrument that is likely the rebab. The instruments in the Javenese example were primarily percussion.

Playing in the Gamelan ensemble was a great experience, and I am very pleased with how it went. Having a history in the Suzuki method, I am accustomed to learning music by ear, so it was nice to translate that into an Eastern context. I especially enjoyed when I and a fellow student were given a kotekan part, that is, interlocking parts. Initially, it was quite difficult with the addition of the dampening of the keys, but I got used to it after repeating it many times. This was my first experience playing Eastern music in an ensemble, and it surely will not be my last

Beats of The Heart: The Two Faces of Thailand

On the topic of the music of Thailand, the musical genres in reference fall upon a broader spectrum than typically thought of in the context of Eastern music. Thailand's music is a miraculous display of the blend of Eastern and Western tradition, with Western forms present through Thai genres of all social backgrounds. Rather like conditions in the United States, in Thailand, one's musical taste depends heavily upon their socioeconomic status. For example, in the US members of the upper class are more likely to attend the Symphony than someone who requires low income housing. If you live in the projects, you may explore musical forms that are more immediately accessible to someone with a low budget, such as rap or spoken word. In Thailand, music is socially divided in much the same way. While Western forms like jazz are popular among the upper class, and even performed and composed by the king himself, those of low socioeconomic status find more in common with the Luk Thung style of music. However, contrary to what you may assume, Luk Thung music, while stylistically very different from the straight Western music that is popular among most of the upper and middle classes, still contains very tangible Western influence. The style is very expressive, and often has a slow tempo and heavy vibrato. Luk Thung music, like rap music, speaks more clearly to a certain demographic. The music reflects the hardship associated with living a rural, impoverished lifestyle. In this sense, people from rural areas seem to be more emotionally connected to their music than the upper class, given much of the music that is considered "high art" in Thailand is not based in Thai culture. And still, I find it surprising that the Western influence is so present in Luk Thung. It seems to me the lower class would want to somehow separate themselves and their art forms from that which is considered high culture, but Western tradition still found its way into the countryside. In one scene in the film we see a small group of young women singing a Luk Thung song. The song is performed on all Thai instruments and in an Eastern modality, but the singer rocks back and forth with a microphone in a poppy manner singing in a style that resembles American pop vocals. Thailand, for a country that is severely culturally divided, contains elements of Western tradition through the majority of the population, despite social class.

Pinnpeat and Mohori Ensembles in Cambodian Music

The many different styles of music within the Cambodian tradition are played by unique ensembles with their own instrumentation and repertoire. The ensembles focus on one of two basic types of music: religious and secular. The pinnpeat ensemble, which is composed of around ten wind and percussion instruments, specializes in religious music, or the music of the courts. This ensemble would accompany different religious ceremonies and court performances, such as dance. The most common ensemble for secular music is the mohori ensemble. The mohori ensemble is a largely string-based ensemble (with some percussion) that accompanies a vocalist, though the exact instrumentation varies with the repertoire. The mohori ensemble is not used in any religious context, and is meant purely for entertainment, performing often for banquets, folk dances, and specific concerts.
Wind and brass instruments have long been associated with court music. The marching band in the parade, the fanfare during the king's entrance, "Taps" being performed at military funerals, etc. There seems to be something grand, formal, yet deeply profound about wind/brass instruments and their music. Perhaps this explains why Cambodian court and religious music is performed by an ensemble comprised mostly of wind instruments, while the secular and folk music is played by stringed instruments, whose thick and swirly melodies connote a sense of freedom and fun.

Ami vs. Enigma

The terms of "fair use" are, to this day, far too vague to provide any sturdy ground on which to stand in cases such as Ami vs. Enigma. Realistically, there are far too many different possible circumstances concerning infringement of this sort for there to be any specific law to govern it all. Countless issues similar to the Ami vs. Enigma case have arisen, "fair use" being the main topic of debate. The issue arises from the fact that"fair use" is not always objectively fair. While the rights to the recording of "Palang" may fall under fair use (EMI Records paid the Chinese Folk Art Foundation a settlement of $1,500), it certainly does not seem fair to widely distribute the voices of Kuo Hsiu-chu and Kuo Ying-nan and subsequently give them no credit. Mainly, Kuo simply wanted recognition that the voice being heard was that of an Ami tribesman in order to raise awareness of the Ami culture. Already fading out slowly, Kuo feared failure to receive recognition could lead to the end of certain parts of their culture.
There is a benefit to all of this, however, even through the conflict. Enigma's song being the theme for the 1996 Summer Olympics meant millions of ears were hearing the Kuo's. Their native Ami song was distributed across the globe. Even if Kuo was not recognized as the singer, there is still something positive to be found in the "mashing up" of East and West culture on a global level.

Huanle Ge (Silk and Bamboo Music)

This piece has a very thick, yet heterophonic texture resulting from the multitude of instruments present. The instrument in the foreground seems to be a reeded wind instrument along with a Chinese flute. These instruments have the most ornamentation out of the ensemble. There is also a Guzheng or some other plucked string instrument along with a lute of some sort, likely the Pipa. The Erhu is also audible in the background at parts. Because this is a typical heterophonic texture, all the instruments are playing the same melody, but with varying degrees of ornamentation, the upper-most layers having the most.

Japanese Folk Music in Modern Japan

While in traditional Japan, folk songs were sung during the day as sources of personal pleasure and as tools for increasing work efficiency, today they have gained a higher and more professional status in Japanese culture. Folk songs, to members of an urban and bustling society like Japan's, evoke feelings of a more peaceful and natural existence, echoing the simplicity associated with life in Tokugawa Japan. It is then no surprise that Japan strives to preserve their folk songs and history through the creation of preservation societies. As a result, folk music has gained a more official and standardized status within Japanese society. This is also aided by new technology like television which raises awareness over a much larger demographic.
With folk music taking more front stage role, the work and discipline needed to perform it at a professional level also increases significantly. Now it is not uncommon for a student to change cities to pursue apprenticeship with a certain teacher for several years. What used to be a natural process learned during childhood was now a far more intensive and focused discipline. The student/teacher relationship is cherished, and requires a special bond between master and apprentice. Often, a student will receive their "artistic name" from their teacher, or even take their teachers last name.

"Indian-ness" in the Old and the New

Like much of the Indian music we have listened to in class up to this point, "Thoda Resham Lagta Hai" begins with an instrumental gesture that establishes the tonal center of the piece about to be performed, however, here it is in the form of an arpeggiated minor triad on the vibraphone instead of the two-note tambura drone typical of Indian classical music. Simply put, what makes this song fundamentally different than the Carnatic and Hindustani works we have heard is that it is in fact a "pop song" and not a classical work. The instruments used are all typical Indian instruments (voice, strings, tabla, etc), but the form and style of the song is done in a Western aesthetic. Here we have harmonies that are changing much more rapidly and regularly than in drone-like classical works. The song is essentially a product of the West that has been manipulated to contain aspects of Indian music.
The second song, "Addictive," is a contemporary hip-hop song by R&B artist Truth Hurts that samples the song "Thoda Resham Lagta Hai." Throughout the video, the concept of "Indian-ness" is highly glamor-ized. The dancers wear lavish, colorful costumes with a clear Eastern influence and dance in what seems to be a blend of hip-hop and traditional Indian dance. At the same time, synthesized flutes and other instruments play melodies resembling typical Indian ragas. While it is certainly not a product of India, the artist pays tribute to many aspects of Indian culture and music.

Introduction

Hello, my name is Alex Barstow and I am a sophomore and Sociology/Viola Performance major in the Tufts/New England Conservatory dual-degree program. Having started on the violin, I have been studying music since I was six years old. However, after ten years of violin I decided to switch to viola, which I have now been playing for three years. Despite my background in classical music, my musical tastes encompass a broad spectrum of genres, ranging from classical music and jazz to more "poppy" genres such as electronic and club music, rap and hip-hop, 70's rock, reggae, and more. More recently, I have been experimenting with the concepts of "remixing" and "mash ups," using DJing as a medium through which to open audiences eyes to many different types of music. A DJ is a unique, and I believe very important beacon in the development of modern music in that it is now customary to heavily utilize previously produced material in the production of new material, a process generally referred to as "sampling." A DJ will take, for example, a specific drum beat from one song, a collection of short vocal clips from another, and a synthesized melody from another, and weave them into what is essentially a complex "musical collage." As a classical musician this is especially exciting, as it allows me to incorporate aspects of classical music (a dying genre) into a more widely-accepted genre, injecting pieces of old-culture into pop-culture where a wider (and younger) audience can appreciate it. I believe this is one of the many ways artists can bring about a revival of classical music.
Having studied Western music all my life, I felt it was about time I broadened my horizons and studied music from an Eastern perspective. I'm excited for an interesting semester!