Latin American Selection

The first selection, Bruja Nueva Paz, meaning “new peace,” is a selection from Cuba. The piece starts out with a horn that sounds to be a trumpet. A back rhythm is kept with shakers, drums, and other small percussion instruments. The composition of the piece as a whole is syncopated, yet for the beginning of the song it sounds as though many of the instruments employed hold a steady rhythm and play on a pattern of configured beats. The trumpet or horn played throughout the song plays with the most obvious improvisation of the band, while the vocals sing in verses, some of which are repetitive and sung of both a male and female voice. Some of the other instruments employed in the band are a piano. Half way through the song it seems as though perhaps the time signature changes, as the beat of the song shifts, and then again later in the song shifts again. As this shifts occur, the patterns followed by the percussion instruments switch the patterns they are following, but still it seems the focus of the improvisation remains on the insertions of the horn. The song encourages dancing with the upbeat pace that is kept throughout the tune, and also the livelihood of the vocals.
“La Duena de Swing,” is a merengue tune from the Dominican Republic. This tune also begins with a very fast pace and immediately encourages the listener to dance. It opens with a piano intro and the main vocalist calls to the crowd in an excited manner. The rhythms of this song are held down with percussion and wind instruments. The beats of the tune held by the different instruments, as they are also syncopated with each other, play repetitive patterns that change as the song takes its course. The instruments of the piece are of a larger scale band, as horns, multiple vocalist, piano, shakers, drums, are all employed in the piece. The song also has a chorus, and measures of the song that are returned to throughout. This also encourages dancing, as it gives the dancers something to latch onto with their feet to follow along with the complicated rhythms that the song provides. The song immediately made me smile and is extremely festive. The tight cohesiveness of the band lends to both choreographed dances and impromptu dancing.
“Santo Domingo,” is a classic cumbia tune from Columbia. This tune opens with drums, shakers, and an accoridian and vocals are quick to ensue. This song is yet another extremely upbeat and danceable song. However, with this tune the individual rhyrhms are easier to dissect, perhaps because there appears to less instruments present in the band. The shakers hold a very repetitive and steady beat, along with the cowbell, while the drums are left to embellish more. However, as the accordion and vocals are given silent space within the song, they are accentuated as a more forefront aspect of the band. This piece is perhaps the most repetitive of the three songs. The vocal chorus and accordion segments have little to no improvisation, yet this also adds to the aspect of dance, as a formalized dance can be held readily on the beat.

Nhemamusasa

Nhemamusasa is one of the oldest songs that comes out of the culture of Shona people of Zimbabwe and Mozambique. The meaning of the song is “temporary shelter,” or “one who builds shelter.” The Shona live in the East and Southeast regions of Zimbabwe and Southern Mozambique, making them the largest ethnic group of Zimbabwe.
The music of this tradition is played with the mbira. The mbira is a hand-held instrument and is played by plucking the tines with the thumbs, classifying the instrument in the idiophone family. The mbira is played by the Shona people as a means of calling to the ancestral spirits; it is a calling for the spirits to come near and an encouragement for possession. Songs such as Nhemamusasa are used in rituals for the powerful evocation of these ancestral spirits. The song is also often played at wedding services as the newlyweds quite often build a shelter for themselves, and can be seen in a metaphoric light as the beginning of a new chapter of time, as is when one moves into a new dwelling (marriage).

The tones of the mbira in the song sound much like water drops, and remind me of rain. It also sounds as though there are shakers being played within the tune, which adds to the feeling. It makes much sense to me that it is a call to the spirits, as the music sounds so reflective of nature. The vocals also hold much emotion and sound similar to yodeling in the aspects of drastic pitch change. The vocals also have a primal sound to them, in that it appears to be a single male singing with such sincerity that his vocal chords are almost strained. Yet he also goes into repetitive more melodic verses that appear to be less of words and more of sounds. However this may be my ignorance of the language. This repetition and alteration of vocal quality aids the mbira in aspect of putting the listener into a trance. The music sounds very magical, and seems to direct the listener (and players) into a place of letting go and experiencing the present. The instruments hold rhythmic patterns that change throughout the song, yet the layering of the rhythms disguises these changes, as it is difficult for my ear to pull the different layers apart. Towards the end of the song the vocalist seems to have come to some form of resolution or higher existence, as although he still changes his pitch much, his voice seems less strained.
After listening to the separation and combination of the kushaura and katsinhira, the layers of the song came to be much more distinguishable. It enriched my listening experience of the song all together, as the rhythms and pitches of the different players were dissected. However, I do feel almost as though some of the mysticism created by the initial hearing of the song dissipated because it felt as if some mystery was unveiled. I would be interested to hear other styles of mbira music as to compare this other-worldliness that is so expressed in Nhemamusasa.

Comparing Rhythms of Africa

In the first recording from the Ewe people of Ghana, Atsia Suite, the rhythm is the first aspect of the song to be introduced with the sound and consistent beat of what sounds to be a cowbell or iron instrument of some kind. The rhythms of the vocals, drums, shakers, and bells interact and layer together to create a polyrhythmic song. The vocal rhythm is held in a call and response manner, with the male vocalist leading and the female vocals following him. As the different instruments blend together, sometimes it is difficult to hear as the rhythms change as they change in a very fluid manner, with much of the instrumentation/vocals repeating themselves while only one instrumentalist/vocalist will change, with the other musicians following. Often when there is a more distinct change in rhythm, the vocals will pause and only instrumentation will be heard. Much of what seems to be signaling these changes in rhythm is one drum, perhaps a bass drum or some other larger drum. It sounds as if as the song progress, the drumming becomes more prominent and increases in volume and presence, yet still intermingles with the other musicians of the group.
In the second recording, a choral song from Congo, the entirety of the song is created in creating rhythm and harmony through vocal song and no instrumentation. The song is although not introduced, but in the beginning led with a single voice, much like the first recording with introduced with a single instrument. This begins a place for the musicians to hold beat with, and allows them to begin layering their own rhythms on top in order to create for a complex and intricate, syncopated song. However the majority of the song is not just one voice joined together, but many voices. Some individuals within the song all keep precise rhythms/pitches/harmonies in perfect synch with each other, or they are working to weave other rhythms and pitches in with other sections of the chorus to cross and complicate these aspects of the song. The vocalist(s) in lead, acts as a sort of master drummer in that he may signal change in the song, or perhaps improvise some on his own. However within this recording, it seems as though less improvisation is used than perhaps that of the first recording.

In the third recording, a Divination from the Central African Republic, the song is introduced with vocals, followed very soon by a complex polyrhythm created through the use of drums, vocals, and what sounds to be shakers or clappers. The rhythm in this song holds vary consistent throughout, as divination music is held in support of one in a trance, perhaps a shaman or other spiritual healer. The constant pulse of the rhythm held through instrumentation and vocals begins and ends in a highly energetic manner, yet the consistency and looping of the different musicians creates for a meditative and transcendental atmosphere. The vocals vary greatly in pitch and change quickly, almost like that of a yodel, which also creates an other-worldly atmosphere which is ideal for this kind of spiritual music.

Fieldwork Proposal

For the fieldwork aspect of my Music Cultures of the World class, I want to examine and immerse myself in the punk music culture of Asheville, and more specifically of Warren Wilson College. Much of my reasoning in doing so is that although I have attended a couple punk shows, I am still much uninformed of the music, and the culture surrounding it.

As the punk culture is prevalent on campus, many punk musicians and listeners being my friends, I will interview them to find out more about the music and the culture behind the music. I’m aware that much punk music holds a desire to push political and social boundaries, though am unclear as to what the specifics are within these ideals. I want to interview the musicians, listeners, attendees of punk shows to find more out about these aspects of the music, why they are drawn to the punk scene, and how punk music infiltrates other aspects of their lives.

As aforementioned, I am friends with a number of punk musicians and supporters on campus and mean to interview them on their opinions of what punk music and culture stands for. I also plan to attend some band rehearsals as to take field notes in a setting in which I am purely the observer, and not directing the experience as I would in an interview. There are a few more punk shows planned for the upcoming term at Preston House, which I plan to attend in order to hopefully obtain some live recordings and take photographs.

Although punk music and culture has been a thriving aspect of Warren Wilson College throughout my years here, I have never fully immersed myself within that culture and it is one that still feels foreign to me. Throughout my fieldwork I hope to discover the political and social aspects of what punk music means within the eclectic Warren Wilson community, and what threads may be tied between this small community and the larger punk community as a whole.

Alash

During the Alash performance at Isis Restaurant & Theatre, the songs engaged different styles, rhythms, tempos, and sound ranging from traditional Tuvan tunes to more contemporary “rock and roll” style Tuvan music. I found the performance to be very accessible, as I have familiarized with myself with throat-singing before ever having been introduced to the band. However seeing throat-singing live was much different than just through a recording, as the music could be heard and felt through the stage presence of the musicians.

Pieces that stood out to me the most during the performance, were the throat-singing solos that occurred in more than just one song without the use of instrumental back – up, and also pieces that included lyrics that were sung in a more traditional manner rather than throat singing. The band’s presence together on stage was calming, as they reflected the meditative nature of the music. It was interesting to see them on stage, as relatively little communication between the musicians was had on stage. The American man who had been touring with the band for years (not as a musician) who explained the band and music’s history, song titles, and song meanings was very helpful. I feel I would’ve been able to appreciate much of the music without having such a formal explanation, yet with the formal explanation the meanings of the songs went deeper. Also it was beneficial to hear of the history of the music in order to understand how sacred this music is as of how long it has been in practice, and the ties it holds with connecting to spirits in nature.

I felt as if Isis Restaurant & Theatre was an appropriate venue to see Alash, especially in comparison to the other venues around the Asheville area. The relaxed atmosphere there is created through dim and candle lighting, a more sophisticated feel to the bar and a spacious seating area complete with table cloths. This sort of feel accentuated the meditative qualities of their music, and also helped to uphold a sense of respect from the audience. Had the venue been more akin to the Orange Peel with a ballroom style dance floor or the Asheville Music Hall also without seating, the audience may not have been able to slip into the trance of the music as well. Also at these other two venues, heavier attention is paid to the bar, making for what could have turned into a louder crowd.

The piece I remember most throughout the performance was the second to last piece played. It was the longest piece, probably ranging from five to seven minutes, while the other songs performed lasted maybe two to four minutes. This piece stuck out to me as beauty in the piece was found with a mostly slower tempo and much attention paid to creating harmonies. Throat singing was involved in the tune, yet a lot of the song was purely instrumental with much emphasis on the bowed instrument on stage. The drum was also played but rather than carrying a beat akin to the galloping of a horse (like many of the other songs), the pulses of the beat were more spaced out, slower. The structure of the song changed much throughout, as if following some current of wind, and even as the stringed instruments changed pitch and tempo, a harmony was kept in place.

Nko Music

Jali Nyama Suso performs in the West African tradition of manding, . In the song “Yundum Nko’” The rhythm of the song is organized in a melodic and repetitive in manner, however the overall flow seems to be almost improvisational. The singer appears to be pleading with a loved one or telling a story with a strange yet heartfelt conviction. The rhythm between the vocals and the instruments is notably different; when the singer is accelerating his words and tone he slows the rhythm of the manding, and yet the same could be said for the rhythm of the kora’s acceleration in contrast to the vocals. The sound is tranquil, soft, and sedate, yet captivating due to the unmistakable urgency in the voice of the vocalist who is overwhelmingly passionate and poignant with his lyrics. The melody and the lyrics are at two different time signatures making the song polyrhythmic and dreamlike, almost as to invoke a feeling of a mid-evil fairytale, which could also be attributed to the similarities between the sound of the kora and the sound of a mandolin or banjo. The sound of the kora is what I would imagine a court in the story of King Authur to sound, however in this song it is undeniable that the music is of African in nature. The kora is as captivating as the vocals and just as mysterious. I only use the word mysterious because the nature of the song is lost on my ears and I am only left with my ability to interpret using a sense of the singer’s emotions and no specific word or words. As well as the kora, which is a wonderfully sounding instrument, yet I may only compare the kora to similarly sounding instruments which before noted were the banjo (the least of the two) and the mandolin(which I could not imagine being played that fast and sounding so well. The musician’s ability to change his tempo so dramatically between the vocals and the kora is as remarkable as the sound of them both. Although the sound of the picking of the kora is quick, the overall sensation of the song is mellow yet almost rushed with intensity. Syncopation is absent within the song except for the singing to the actual music. The vocals of the song are also repetitive and consistent in the change of pitch, and tone changes frequently in the singers voice not so in the pitch of the kora. It sounds as if the vocalist is making a plea, perhaps for peace or for the companionship of a loved one. When listening to this musician’s work one is only left with a sense of awe and inspiration due to the level of talent and passion. I can only say that the work of this musician is likely to inspire listeners regardless of their origin or their ability to understand or interpret the meaning of this song, which to me is as unique as the song itself, beautiful and exotic.

Music Background

My background in music has ranged from when I was younger and first being exposed to music to my current age in my young twenties. Growing up I was exposed to the music my parents listened to (a lot of vocal jazz, classic rock, and mo-town), and also to that of the radio. However once I hit about ten years old, I started developing more of a taste and desire of my own to seek out music. I began listening to psychedelic rock music such as The Doors, The Beatles, The Grateful Dead, etc. In high school, as I began to see more live music, my love of psychedelic music continued to grow but also broadened to a spectrum that included bluegrass, jazz, funk, and electronic music. While I still enjoy listening to all of these genres, mainly my musicking is spent in the world of psychedelic jam music and bluegrass. The category of jam is very broad, but includes genres of rock, bluegrass, funk, metal, and more, and is comprised of a band that enjoys long improvisations. Music is a huge aspect of my free time throughout everyday whether it is live or not. However I realize that my personal biases towards these genres of music, creates barriers for music of different styles and cultures, and prohibits me from hearing with an entirely open ear. The vast majority of the music I listen to stems from American culture, especially bluegrass, and always has. This has trained me to hear with a Western ear, so that when I hear a piece of music from the East, even if I may still enjoy listening to it, I am processing it as “other,” and unfortunately probably not giving it the same attention I would if that piece were from a genre I know and love. However, although I stick to much American music, it does help that the music I listen to is highly improvisational, and genre-bending. Listening to music with long-lasting and complex solos allows me to train my ear to listen to nuance within songs, something I truly enjoy. This training of my ear helps me to be able to listen to foreign music, and listen more closely to the sounds even if they are unfamiliar instruments, structures, etc. Another helpful factor is that music of the music I listen to in the jam scene, including examples of the String Cheese Incident and Leftover Salmon, incorporate lots of genres into a single song or album. So while the band is an American based band, they often pull sounds from other cultures such as Latin, Afrobeat, Carribean, Moroccan, and more. This blending of culture and sound is something I seek out and enjoy in music, and when listened to through the venue of a band that I enjoy is not only easier to process, but also lends in my listening ability. Since I am exposing myself to this kind of music, often live, when I hear music that is not from the US or is of an unfamiliar culture or genre, I can more easily appreciate it and listen with an open mind and ear.

“El Caballito”

In “El Caballito” a tight weave of vocals, violin, and percussion are weaved to bring about a song that begs for dance. It sounds much like a partnership. The two men trade off vocals intermittent with the violin solos and even further the idea of dance. This goes along with the music style of huapango, as the derivative of the word “huapango” speaks of “on top of wood,” alluding to a dance floor. Although it sounds as if the recording is studio and not live, it is apparent that the audience plays a role within the music, as the music is lively— stemming from the quick pace and pulse of the drumming, the ringing of the high pitched vocals, and the singing strings of fiddle and rhythm guitar. Although I do not know the lyrics, I imagine them to be about the partnership of a boy and his pony, perhaps the pony helps the boy carry freight of some sort. One man whistles subtly in the background, and another call is heard which is recognizable to be from human to domesticated animal. It seems that the musicians value flamboyancy, and intricate improvisation (especially of the violin), yet also desire to maintain a sense of community and empowerment. In this way, it seems that the music would appeal to the lower and middle classes of the community, and genders of all kinds. Although the song lyrics of “El Caballito” seem to speak of a boy, I imagine since dance is such a thriving aspect of huasteco music, both genders are involved in a dance that I imagine to be a quick paced partnership or group dance. This song may be a tool to enlighten one’s mood or to feel more motivated about the work ahead. Instead of drinking caffeine, listen to the song to perk up in the morning with a quick step underfoot. The song seems comes from a traditional style, therefore I believe the song would be passed down in a family, perhaps father to son- or either parent to either child. This style of music may also be taught in schools, or by mentors who may be neighbors etc. I really enjoyed this song, as the violin was captivating in the quickness and the way it soars. The back and forth of the vocals and rhythmic strings held me in a space that felt desirably social, and want to spin round. I’d be very interested to see them live, and in the culture appropriate setting.