Dr. daniel Avorgbedor (for Mus 140/351)

hat's in a name? The term "world music" began to be employed increasingly among music scholars/educators during the early 1970s. There are, however, economic, cultural, political, and artistic events that have contributed to its popularity and persistence. For example, Peter Gabriel (in collaboration with world artists and recording companies) founded the well-known WOMAD (i.e., World Music And Dance, held in Berkshire, England) festival in 1982. Musicians and dancers of different cultural backgrounds participate in this event. WOMAD, musical tourism, and the recording industry are thus partly responsible for the popularity of the idea of World Music (examine the category "World Music" in record stores). With the rise of multiculturalism and the ease with which musicians/dancers can travel back and forth our Planet the musical traditions of different peoples are becoming easily available, albeit with some significant adjustments. Many composers of "art music" have always relied on the musical practices of various ethnic groups for compositional ideas. The notion of World Music thus becomes a household commodity among people of varying professional concerns.

ome other terms from our contemporary discourse on music and which are closely related to "World Music" include world beat, earth beat, roots music, intercultural music, etc. These terms, however, point to the complex ways in which musical traditions interact, especially when "popular music" appropriates music of different cultural origins, and musicians from different societies work with the techniques, resources, audiences, and instruments commonly identified with popular music and some new art music compositions. Sometimes new genres of popular music are created altogether through the interaction of indigenous and popular musical ideas, as exemplified in "Indopop," "Afrobeat," or "Bhangra." Is there a distinction between popular and "folk" music, then? In some measure, what we understand as popular music often involves musical creativity on a larger scale, and people of different nationalities or cultural backgrounds can collaborate in a band. Their target audiences are also larger than that of, for example, the music of Navajo Enemy Way ceremony whose context severely restricts who listens or participates. Each of the music cultures covered has its own popular music genre, which is informed by what is happening in the international market and the local musical practices; to this add the ingenuity of the individual musician.
 
 

The term World Music can also be seen as an effort to overcome prejudices and misconceptions associated with the term "folk." Formerly folk was synonymous with primitive, unlettered, purely oral, rural, etc. Although most of these associations no longer exist, many people prefer "world" to "folk" when designating the musical practices of different peoples of the world. The search for a better term also led to a familiar term: "traditional." For example, the International Folk Music Council changed its name to International Council for Traditional Music in the late 1950s. Similarly, the Indiana University's Archives of Folk Music changed its name to Archives of Traditional Music. Should they now change to ...World Music...? Does World Music encompass a much wider variety of music and creates room for a better tolerance of other cultures? Of course the changes in the name partially reflect one objective of these institutions: What to collect or study depends on general convenience, individual motive, and demands of the world market.

oday, the scholars who study different types of music in relation to their cultural environments are called ethnomusicologists, and they have no limit as to what music to study or collect. This is one of the reasons why name changes are important-- they allow for a wider vision or perspective on what music is and the dynamics that maintain it. The textbook for this course emphasizes a wide range of musical practices of different cultural settings, and these musical varieties are part of what we call World Music, whether they are folk, popular, traditional, or world beat. In brief, these are musics of the world's peoples (it may sound ungrammatical to use "musics" but this has become a common practice among music scholars).

A: Research Proposals & Samples
 
 

t is recommended that you first present a short description of your planned term paper. In this way, you can receive useful feedback to improve on the quality of the paper. The proposal should ideally include the topic and a short paragraph detailing HOWyou are going to COLLECT, ORGANIZE, and ANALYZEthe research information or data. As you can see from the sample topics below, the research would normally involve some aspect of fieldwork (see chapter 10 of the textbook, Titon, "Discovering and Documenting a World of Music). A fieldwork may involve asking questions, either orally and/or administering a written questionnaire. Depending on your topic you may also attend a musical situation and participate in some way, as part of your strategy for gathering information for your paper. A research paper could also be based on some analysis of printed or recorded material in libraries or archives. I will give additional information on the research paper during the course of the term. However, keep in mind that the earlier you begin the paper, the better your chances of completing an acceptable research paper.

You may also, depending on the nature of your research project/paper, append a brief bibliography of relevant sources that will inform your paper. Remember that the DEADLINE for research proposals is the day of FIRST QUIZ, FEB 29 (actual or final papers are due on the last of classes--see syllabus for IMPORTANT DATES).

State the topic in a clear, precise manner. Sometimes a subtitle is helpful in breaking down or clarifying down the subject further, for example:

(a) PROTEST SONGS AS A MEDIUM FOR COMMUNICATING WORKERS' GRIEVANCES DURING THE DEPRESSION: A STUDY OF FIFTEEN LYRICS

OR:

(b) THE INFLUENCE OF CHURCH HYMNS ON PROTEST SONGS OF THE DEPRESSION: A STUDY OF FIFTEEN LYRICS

In a & b the subtitles specify exactly the number of songs you will consider, and the period or time frame is already stated in the main title. Next, a paragraph or two will elaborate on the topic a little further, summarizing your purpose, for example:

The aim of this project is to investigate the verbal content of fifteen protest songs selected from the Depression (ca. 1927-1933) era, with focus on how the messages of the songs reflect the worker's experiences and expectations. In addition, the study will examine specific performance techniques employed in order to impress the messages on the audiences. A basic assumption of this project is that the situation of protest is a socially significant one and that the song texts and manner of performance will be influenced in many ways by the uniqueness of the situation. [or: A basic hypothesis of this project is that there is a relationship between the situation of protest and the song texts, including the manner in which they are performed].

[this section for brief discussion of specific theories relevant to your topic, followed by an overview/critique of works by other researchers that pertain to your topic--- OPTIONAL AT YOUR LEVEL]

[this section specifies the methods, techniques, and types of analysis you will employ] For example: Research Methods and Techniques: A sample of 15 songs will be selected from the sheet music collection at the ----Archive/Library (alternatively, you can say the songs will be selected from those found in the book published by ----on protest movements in the U.S.) The songs will be selected and classed thematically under the following cateories: (1) humor, (2) insult and ridicule, (3) warning, (4) hope, and (5) hardship/despair. The frequency of occurence of the above themes within and across the songs will provide the basic criterion for the selection of the fifteen songs, and for drawing conclusions on the overall character of protest songs of the Depression. The importance of the above themes will also be confirmed through an additional investigation that is based on an oral interview with 5 survivors from the period. Finally, the textual analysis will also consider the forms of musical accompaniment employed, and the impact of group (mass) singing on the effective communication of the messages. The research techniques will, therefore, essentially involve both library/archival research, content analysis, and a fieldwork component.

this section appends a working bibliography(optional)
 
 

SAMPLE RESEARCH PROPOSAlS
 
 

 KARAOKE AS A MUSICAL AND SOCIAL PHENOMENON:

AN EXAMPLE FROM COLUMBUS (or the U.S.)

 1. brief overview of the evolution of karaoke in Japan

2. how karaoke came to be popular in the U.S.

3. the importance of the social interaction in karaoke

4. specific example(s)

5. how does this example illustrate the close relationship between music and society (as we have discussed with other music cultures in class)

 under social:

 which age group/sex/social class tends to participate in karaoke?

How frequent? location important? What are some opinions (from your personal interviews, if any) about WHY they participate in karaoke? What times seem to be most convenient and why?

   RESEARCH PROPOSAL SAMPLE: 2

MUSIC AND BELIEF SYSTEM: A STUDY OF DEBATES ON CONTEMPORARY CHRISTIAN MUSIC

1. give brief overview of the role of music in Christian worship and how roles and views have changed over centuries

give examples from the Catholic church (especially Vatican II see me for details)

give examples from the the Presbyterian Church of Scotland

give examples of how some denominations of TODAY do not use instruments

2. What is the basic nature/trend of the arguments/issues

How are they supported by the Bible?

 3. are they trying to catch up with modernization?

are they trying to encourage cultural diversity?

are they trying to keep with developments in our social and political systems?

are they trying to target a specific age group?

 4. what is the significance of music among CHARISMATIC (define) groups, such as Pentecostals?

 5. what views have been expressed by theologians/scholars (e.g., MUSIC THROUGH THE EYES OF FAITH; THE WORSHIPING CHURCH; etc--see me

 NB: In the intro state that you are limiting yourself to discussion groups on the INTERNET, with supplementary materials deriving from Christian magazines, etc.
 
 
 
 

NOW, TAKE A LOOK AT THESE SAMPLE TOPICS

1. The Influence of Folk Music Traditions on Contemporary American Composers (you can limit yourself to one composer)

2. A Content Analysis of 15 Protest Songs from the Depression era

3. Some Strategies for Teaching World Music in the Elementary School (limit yourself to one culture]

4. The Influence of New Technologies on the Transmission of Traditional Music (limit yourself to a particular culture, genre, or festival, or artist)

5. The Concept of Form and Structure as Exemplified in Selected Recordings by Miles Davis

6. Non-Western Musical Instruments in the Columbus Museum of Art: A Descriptive Catalogue of Selective Instruments

7. A Study of Musical Diversity as Reflected in the Repertoire of ....Marching Band

8. A Study of the Coverage of World Music in Columbus Local Newspapers, 1988-90 (you can limit yourself to one...

9. The Impact of the Columbus Blues Alliance Society on the Musical Life in Columbus (you can substitute another music-sponsoring organization)

10.The Musical Background of Selective Female Indian Immigrants in Columbus

11. A Melodic Analysis of Contemporary R & B

12. A Comparative Study of the Use and Function of Music in the Greek Orthodox Church and in the ----Baptist Church (substitute your own churches)

13. A Comparative Study of Music Programs and Programming Techniques of Selective Arts/Folk Agencies (Institutions) in the Greater Columbus

14. A Transcription and Melodic Analysis of 5 Ballads as Sung by my Grandfather

15. The Contexts and Audiences of Klezmer music

16. A Study of the Role of Music in Ethnic Celebrations in Columbus

17. Folk Music in Education: A Study of the Contributions of Cecil Sharp and Percy Grainger

18. The Impact of the Electronic Media on the Popularization and Commercialization of Country Music

19.The Importance of Music in Fostering Communal Interaction in ---- Church The Role of Religious Institutions in Promoting Folk Music in Columbus

20. The Place of Music in Structuring Ethnic Celebrations in Columbus

21. A Harmonic Analysis of Contemporary Gospel Music: The Case of ......

22. The Influence of Music and Dance as Important Cultural Components in Building Group Identity among Immigrant Groups in Columbus (limit to one or two groups)

23. The Structure, Context, and Variety of Public Musical Events in Worthington Community

24. A System for Analyzing the Frequency, Location, and Quantity of Folk Music Events in New York City

25. The Musical Background of Selective Male Indian Immigrants in Columbus

26. A Statistical Survey and Brief Description Folk musical Instruments in the Museum of Art (Columbus)

27. Growing with Music: A Family History based on an Oral Interview

28. The Literary Sources of Rap

29. Relationship between Social Behavior and the Quality of Musical learning at a Rehearsal (choose musical group or band to study)

30. A Comparative Study of Body Movement/Dance among Contemporary Rap Artists

31. A Study of Interactions between Folk and Popular Music: Examples from...

32. Factors Influencing the Acquisition of World Music Recordigns for the OSU Music Library, 1980-1990

33. The Importance of Music and Dance in Contemporary Amerindian Ceremonial Gatherings

34. A Study of the Background Musical Experiences of Selective Immigrants in Columbus

35. The Commercialization of Country Music: Examples from the Music of ...

36. Nineteenth-Century Origins of Folk Music Revival

37. Techniques of Elaboration/Improvisation in (e.g., Russian wedding laments, fiddler's tune from North America, Hindusthani/Carnatic alap, string or xyolophone music from Africa, or the bass line in bebop)

38. A Comparative Study of the ballad/song ... as performed/sung by (must be more than one singer)....

39. World Expositions and their contributions to the Popularity of World Musical Traditions

40. Ethnographic Expeditions and their Contributions to the Study of World of Folk Music Traditions

41. The Influence of Music on the Works of African-American Authors

42. The Influence of Ethnic Musical Traditions on (choose a pop group)

43. An Analysis of Textual Variation based on a Song Performed by Different Singers

(name specific song)

44. The Poetic Character of Rap Music of the Early 1980s

45. A Fiddler Reflects on His Art: An Oral Interview with...

46. Folk Music and its Influence on Community Life: A Personal Account

47. The Significance of Folk Music in the Works of some Early 20th-Century Music Composers

48. World Music on the Radio: A Study of the Concept among DJs

49. Musical Preferences among Music Majors: The Case of World Music

50. Relationships between Religious Background and Musical Preferences among Rock Music among (select persons, group)

51. Commercial Recordings as an Instrument for Fostering the Study and Appreciation of World Folk Music Traditions

SAMPLE RESEARCH/WRITING AIDS
 

To avoid problems of legibility, all written assignments must be typed, double-spaced; no less than 10 words per line; all footnotes/endnotes and citations must follow one citation format consistently (e.g., Chicago, Thurabian, APA, MLA, etc.). To learn/verify citation formats for online/electronic sources, start with:

http://gateway.lib.ohi o-state.edu/tutor/open/les7/guide.html (this also has links to other online guides)

AND/OR

http://www.h-net.msu.edu/ about/citation/general.html (this also has links to other online guides)

For basic search on the internet/WWW for music or culture-related information, begin with my personal homepage at: http://aaas.ohio-state.edu/dka/avor.html. Online resources on music fall within several categories: Newsgroups, Listservs, Databases, Vendors, Institutions--Academic and Cultural, Societies and Performing Groups, Publishers, individual musicians' homepages; CIA fact sheets on each country, World ethnic databases, schedules of music events (e.g., for Columbus try http://www.dispatch.com(Sunday, Arts section, especially); and http://www.columbusmusichall.com) , samples of music and song texts to download/listen to). You can post research questions and receive feedback from Newsgroups (see my homepage) and Listservs, as well as by direct email from musicians' hompages. 
 

There is a nice website that can help with your writing and is subtitled, How to Write Essays, do presentations, and reference your work and is at: http://www.staff.livjm.ac.uk/mccscubi/handbook/handbook2.html
 

Don't forget these two very important, hardcopy guides:

1. A POCKECT STYLE MANUAL: Clarity, Grammar, Punctuation, Mechanics Documentation Usage, Grammatical Terms, by Diana Hacker (New York: Bedford Books of St. Martin's Press, 1993)
 

2. THE NEW ST. MARTIN'S HANDBOOK, Lunsford Glenn (Boston/New York: St. Martin's, 1999)
 

Finally, there are many excellent bibliographic sources and reference tools (hardcopy and online) by geographic and subject areas and genres (e.g., Blues Grass; Electronica; China; Cowboy Music; Contemporary Church Music; Latin American; Jazz, Country music, Eastern Europe; etc.)

REVIEW QUESTIONS #1 JANUARY 2001

1. List TWO examples that can be considered under "MATERIAL CULTURE OF MUSIC
A.___________ B____________

2. A Music's AFFECT is defined as

A. its neutrality B. its ability to include related art forms
    C. its power to generate feelings or emotions D. its presence in every situation
3. List below TWO ways in which SONG or MUSIC differs from normal speech
A.__________________________ B.______________________
4. List one song or music that would be considered "abnormal" when performed out its usual context
5. List the FOUR components of Music
6. List one musical example in which REPETITION is an important element
7.. List one musical example that emphasizes COSTUME and DANCE
8. All world cultures have specific terms for "MUSIC" TRUE FALSE
9. A term for the study of music in close relation to the various CONTEXTS OF HUMAN LIFE
10. List TWO disciplines that are closely related to ETHNOMUSICOLOGY
11.Define "ETHNOCENTRISM"_____________________________________
12. List a performance type, event or music that is distinguished by its 'SPEECH-LIKE" qualities
13 Give an example that shows the SYMBOLIC usage of music/song or musical instrument
14. Give TWO examples of "RITES OF PASSAGE" that are often accompanied by music A_____ B_____
15. List TWO examples that can be considered as "CULTURE" (general examples)

**********************
16. List THREE examples that show how we appropriate names and culture of Native American Indians
17. Give the names of FOUR Native American Indian groups
17 List the names of TWO DANCES that reflect the impact of the environment on Native American Indian music and culture
18. List one benefit of employing OBSERVER-PARTICIPANT techniques in documenting music and musical life
19. Give the full name for the acronym "WOMAD" and name the British musician who is closely identified with the origins of the this_______
20. List TWO  ways in which the symbolism of "4" is interpreted in American Indian Music and Dance
21. List THREE categories of American Indian Music that are distinguished by their FUNCTION/PURPOSE
22. List TWO important musical elements in American Indian vocal music
23. List the CLASS/CATEGORY of musical instruments that is most common in American Indian music
24. Name the instrument that is used most often in  Native American Indian healing and ritual
25. Identify the following terms,  GHOST DANCE, POWWOW, POTLACH, GREAT SPIRIT
26. _____is another name for the Navajo
27._____is another name for "nonsense syllables"
28.______ these are known as the "classical" music of the Navajo
29. The circle Dance song "Shizhanee" is sung to all "nonsense" syllables:        TRUE   FALSE
30. "Shizhanee" is used in the frewuently performed rites called "Enemyway":         TRUE  FALSE
31. Yeibichaei songs employ  FALSETTO sounds:              TRUE             FALSE
32.____is one of the Navajo traditional arts and crafts
33. _____is the name for the traditiional Navajo circular log building

1. LISTENING
 You should be able to identify all thee types of music discussed in class--AFRICA by instrument and/or by Ethnic group (Ewe agbekor drumming, Shona Mbira music, and Mande Kora music)
2. GENERAL
--. Be able to list 3 countries  and two ethnic groups (other than those in listening examples) in Africa
-- At least one common stereotype about Africans and African Americans and their music, etc.
-- Identify AT LEAST FOUR AREAS OF MUSIC AND CULTURE SHARED IN COMMON AMONG AFRICANS AND NATIVE AMERICAN INDIANS
-- Identify at least THREE categories  (i.e., Winds, Keyboards, etc) of African musical instruments
-- Ways in which the African musician increases the percussive tone of the music
--  Number of basic pitch/timbre levels in drumming
--One or two examples of the influences of language on music
--Give an example in which musicians/dancers undergo apprenticeship or training
3:  Be able to identity the following TERMS
     Sub-Sahara, vocable, cross rhythm, polyrhythm, jali, kora, mbira, overlapping call-and-response,  oral transmission, time-line, tone language, etc.

4. Sample  T/F ITEMS (these are for your review only:
   i. Women, as a rule, do not participate in music-making with men in Africa        T       F
  ii. In the so-called talking drums, the drums actually speak words that are readily understood by everyone at any time                       T         F
  iii. Vocables are not used in African music         T      F
  iv. African instruments are always tuned to exact, measured pitches         T      F
  v.  Only stringed instruments are "tuned"                T  / F
  vi. Drum music in Africa has no form or structure             T   F
  vii.  African ethnic groups practice singing one part together as commonly practiced in Native American Indian music (i.e.,  lack of harmony or different parts sounding at the same time)                                T           F

REVIEW SHEET FOR QUIZ #2 Monday, Feb 26
 

A.  TERMS AND NAMES
Lining-out
Piedmont
Diddly bow
W.C. Handy
St. Louis Blues
Muddy Waters
B.B. King
Delta rhythm with a function similar to African Time-Line
Boogie Woogie (its rhythmm deriving from Delta rhythm)

>>>Origins of the Blues--List two categories/genres of music from which the blues derives
>>>African-American genres--List THREE of the MAJOR GENRES of African-American music (listing two substyles such as urban blues and bebop will not count as major genres)
>>>African-American musicians--List at least THREE African-American musicians AND the music they perform (listing all three or two from, say rap will not count--each must come from a different genre; if artist works in more than one genre, list them)
>>>List THREE of the common features of African music that are retained in the blues
>>>List TWO women blues singers
>>>List  THREE musical instruments often used in performing the Delta/rural blues
>>>List TWO features that the rural and urban blues have in common
>>>List TWO features that distinguish the URBAN form the rural blues
>>>List TWO ways in which the blues musician composes his/her music

>>>Identify the poetic/line structure of a typical blues text
>>>Be able to identify the Delta rhythm from a chart
>>>List one performer of the blues who is not an African-American

GRADUATING SENIORS--REVIEW OUTLINE, MUS 140

1.  GENERAL
   Be able to  identify the following::
              ETHNOMUSICOLOGY,  AFFECT,   3 MAIN COMPONENTS OF MUSIC, PEYOTISM, TONAL LANGUAGE, CROSS RHYTHM,  JALI  W.C.HANDY, MUDDY WATERS, LINING-OUT, PIEDMONT BLUES, DELTA RHYTHM, 2 WAYS IN THE BLUES IS COMPOSED, POETRY OF THE BLUES, 2 TRAITS THAT DISTINGUISH THE  URBAN BLUES FROM THE RURAL
 

2.  INDIA
be able to answer all of the 10 review questions presented in class (India) on WEDNESDAY, FEB 28 (IT IS YOUR RESPONSIBILITY TO BE IN CLASS AND UPDATE YOURSELF WITH CLASS NOTES AND HANDOUTS)

IN ADDITION, LISTEN TO THE INDIAN FILM MUSIC EXAMPLE ON THE CD (IF YOU DO NOT HAVE THE CDS, GO LISTEN TO THE CDS ON RESERVE AT THE AUDIO-VISUAL SECTION OF THE MUSIC AND DANCE LIBRARY, SULLIVANT HALL):
 LIST 2 FEATURES OR CHARACTERISTICS OF THE MUSIC MAKE IT "INDIAN"
 LIST 1 FEATURE THAT CAN BE TRACED TO WESTERN/INTERNATIONAL POPULAR MUSIC AND INSTRUMENTS

3. LISTENING:
      YOU WILL BE PRESENTED WITH 3 MUSICAL SELECTIONS--ONE FROM NATIVE AMERICAN INDIAN, ONE FROM AFRICAN, AND ONE FROM  AFRICAN-AMERICAN;
 A. IDENTIFY EACH PIECE AS "African, Native Indian, African American, etc, as appropriate
 B. GIVE THREE REASONS FOR YOUR CHOICE
 

NB:  All the selections will come from the textbook CDS.

AREAS/TERMS TO REVIEW FOR FINAL EXAM
 

FINAL EXAM DATE:   MARCH 14 [WED]    9:30-11:18am    Hughes 100
 

ALL QUESTIONS WILL FOCUS ON INDIA (I.E., NOT COMPREHENSIVE),
EXCEPT FOR THE LISTENING PORTION
 
 

1. Review the 10 questions reviewed in class about INDIA (SEE #5 BELOW)

2. The Basic ingredients of Indian classical music (drone, raga, tala, kriti, gamaka)

3. the main, 3 sections of karnataka sangeeta (alapana, tanam, kriti) and what distinguishes them

4. names of the 7 notes of a raga-- SA-RI-GA-MA-PA-DA-NI-(SA)

5.TERMS  (includes some from the 10 questions reviewed)
   SANGEETA, TALA, RAGA, SHRUTI-BOX, KRITI, ALAPANA, MRIDANGAM, TAMBURA, TYAGARAJA, ODISSI, NATYA SHASTRA, SANSKRIT, BRAHMIN, HINDI, HINDUSTHAN, MAHATMA GHANDI, TYAGARAJA, TAJ MAHAL, GURU, SARASWATI, CINÉ MUSIC

6. MISCELLANEOUS:
          2 ways in which music and dance are closely related in the Indian classical traditions
          2 examples of the religious influences in Indian classical dance(s)
          2 examples of religious influences in Indian classical music
          3 stages of evolution of Indian classical music
          3 basic layers of sound in Indian classical music (p.272)
 

7. LISTENING:
       for listening examples  #1, 2
       i. Is this piece African, Native American, Indian, etc.?

              ii. Give 2 REASONS to support your answer

    #3 Indian Film Music (item 13 on the CD); pp.256-258
             i. list 2 distinctive Indian  elements/characteristics of the music
              ii. list 2 non-Indian elements/characteristics of the music