Music in Global America ~ Journal Entries

Critical Journal Entry #1 (Ethnomusicology-Intro)

Ethnomusicology is the study of music and sound that emerges from or is arranged by groups and cultures (and individual humans) worldwide. Today there are those who believe that we ought to change the name of the field since it is too limiting to categorize music by ethnic groups (especially nowadays). 

The method of study is generally similar to that of anthropological fieldwork. The perspective on how and what to examine in music has evolved substantially. There is lots of room for discussion as to what constitutes music in the first place; is music just a finished product? Just human sound? How about Rap music…? etc. The exploration of the field comes through research, study, and dialogue.  

Since society has moved into a more globalized and interconnected network, music has also become more accessible across groups and cultures. Hence, American music is more accurately described as “music in global America”. 

To me, music has always been global. My family is from the Middle East and North Africa/Morocco. I grew up with a mix of local and global music which spanned from Spanish to Hebrew to English, Yiddish, and folk songs that had no lyrics. The most notable difference to me between the wide array of music I was exposed to was the rhythm and tempo. Since my family was orthodox Jewish, My exposure to music outside my religion came gradually from external sources, but each time I heard something new, I remember it being so fun and refreshing.

I remember during my first exposure to Hip-hop and Reggae - being completely taken in by the music. I memorized all of the lyrics from the first album that I got my hands on (it happened to be a Jewish artist named Matisyahu) without effort.

I think that the process of globalization and broad accessibility to music has contributed to my music and my life immensely. I hope that throughout this semester my understanding and knowledge of music will expand and be enriched as much as possible.

Critical Journal Entry #2 (About Ethnomusicology)

I found it interesting and refreshing to read about Feld’s idea of what constitutes meaningful music. His walk-through of the different levels of analysis that he entertained when observing the Kaluli drum/music seemed very logical and thorough. My essential impression and takeaway from reading Feld is that music does not occur in a vacuum. Music occurs within a social and cultural context and should be studied as such. I think that because of Feld’s thoughtful and open approach, he was able to extract an appreciation for the Kaluli drum and its accompanying traditions and ceremonies that could have otherwise been reduced to simplistic, perhaps unimportant sound/music. In sum, Feld asserts that sound/music is meaningful because of its social and historical context, the way that it (the instrument and sound) is constructed and produced, and its capacity to evoke and inspire a unique and meaningful experience. His vivid account of the Kaluli drum demonstrates the beauty and richness that can be found in all music forms. 

I think that writing/reporting ethnomusicology is similar to its practice because they both require a good amount of mutual respect (between the researcher and the “subjects”) and attention to detail. Without an approach that is open and respectful of very different or even seemingly strange types of activities and rituals, both “doing” and writing about ethnomusicology can become quite difficult, if not impossible to do. Likewise, without attention to detail, doing and reporting about different types of music becomes much less feasible. At the same time, writing about ethnomusicology may be more prone to error given the distance that sometimes exists between the writer and the subject(s) that they are addressing.

Among many other things, artwork and music are often rather complex and can be multileveled multidimensional entities that include many nuances that are not always initially evident. For this reason, speaking for others - especially in this domain can lead to erroneous statements and claims about other individuals and groups. That being said, I think Alcoff brings up a good point in observing that sometimes, not speaking up for others who don’t yet have a platform can sometimes also be a form of negligence. I think that this is a complicated question. Sometimes speaking for others can be a good thing and sometimes it can cause immense damage and confusion. Ideally, I think that it is best to have people speak for themselves. As Alcoff mentions, the problem really happens at the larger group level. Therefore, when studying the music of other groups, I think it is important to get as close as possible to the individuals we are investigating and writing about. This way, we are not imposing our own assumptions and theories onto the subject matter and we are being as truthful and accurate as possible in our work. 

References

Feld, Steven. "Sound as a symbolic system: the Kaluli drum." The varieties of sensory experience: A sourcebook in the anthropology of the senses (1991): 79-99.

Critical Journal Entry #3 (Traditions in Music)

Among other things, holding onto their musical and dance styles was one of the ways that the Afro-Peruvian culture was preserved and eventually reconstructed. When the renaissance of their heritage began, the youth extracted from the elders the remanence of what was remembered from their culture. The older musical expressions were used as the foundations for the renewed and fuller current Afro-Peruvian musical structure. 

Borderland music was sustained through a genre known as “Corrido” which features songs that are accompanied by a narrative. The stories in these songs were usually about heroes or heroic acts committed in these regions. They also had discussions about the struggle that the borderland folks had to face on a regular basis.

The question about the utility of maintaining traditions throughout generations is an interesting one to me. Perhaps there are two elements to this practice. Firstly, those from the past are remembered and thus remain alive in the hearts of those whom they have shared these traditions with. Secondly, traditions tend to give people a sense of identity. In an unstable and confusing world, knowing where you come from and what traditions are expected of you can bring comfort or even solace during trying times.

There are many traditions that were past down to me from my family. From reading Hebrew to observing holidays and many other Jewish customs. On the musical side, I have learned a substantial amount of European Jewish music in school throughout the years. However, much closer to my heart was, and still is the unique Arabic and middle eastern music that was sung in my home as a child during weekend and holiday meals. These songs had tonal and structural elements that I couldn’t find elsewhere. They also made me feel connected to my ancestors who lived in Morocco and other areas in the middle east. 

In Judaism, all traditions are important. They keep the Jewish people connected and have been what defined the survival of our people from the beginning of time. For Morrocan Jews, poetry and music have been central to religious and day-to-day life. Therefore, most - if not all Morrocan Jews know their songs and their music. We are happy to sing it for you anytime, all you need to do is ask… (It so happens that this musicality is not as popular among all Jewish groups but Morrocans are indeed known for their music (and spicy foods)).

Critical Journal Entry #4 (NYC Salsa)

Salsa has its origins in multiple musical styles and genres. It emerged in New York City as an extension of Latin and Afro-Caribbean rhythms, and local NYC influences like R&B, soul, disco, and Jazz. In line with its music, Salsa drew from local and international cultures. The immigrant life in NYC and the culture of the homelands of said immigrants from Puerto Rico to Cuba and Afro-Caribbean countries all blended together, eventually gave rise to the newer rich (/punchy) sound of Salsa that we know today. Because of the dynamic origins of Salsa, the exact nature and influence of any given song or performance could be different based on the artists and performers. Some artists relied more on Puerto Rican sources while others chose a more Cuban or even western emphasis. 

Big names in this genre include Hector Lavoe, Willi Colon, and Celia Cruz - a female artist who brought amazing vibrant joy to her fans worldwide through her music and performances. As a whole, the Fania label also had a significant impact on Salsa through its many musicians who contributed to this form of music. Among other things, Willi Colon became known for the storytelling and compelling messages that he inserted in his lyrics.

In the first reading for this week titled “A Visual History of Salsa in New York,” the quote “Salsa tells the complexity of Puerto Rican people, Latinos, people of color, the good, the bad and everything in between” - stood out and resonated with me in a few ways. As I understand it, the story of Salsa’s emergence is a story of the striving and perseverance of the “underdog”. It is a story about individuals that aspired to transcend the difficult circumstances they were dealt, and how they succeeded in finding a powerful medium of self-expression. Salsa became a way in which immigrant communities in New York shared their stories, derived inspiration, and educated and motivated others to recognize the struggles and the beauty that could be found in the ever-changing melting pot of New York. 

New York is where dreams begin and the success of Salsa is a testament to the ability of those dreams to become true. Indeed this was only the beginning of the realization of this success story. In its heyday, Salsa gave a new life to the culture and presence of the immigrants of New York. But very soon the popularity of Salsa grew all over the world, becoming a beacon of hope and a representation of the voice of the people for many years to come.

Critical Journal Entry #5 (Dominican Republic - Bachata)

Bachata is a genre of music with humble origins in rural areas of The Dominican Republic. It features the guitar as its primary instrument - generally played in fast plucking fingerstyle. The early years of Bachata were in the 1950s and 60s. Most of the lyrics in Bachata recount tales of the beauty and sometimes pain that accompany love and romance. Because of how representative Bachata was of the simple unsophisticated lives of the rural Dominican folk, it went through a period of being banned by the regime of Trujillo who did not approve of this genre and what it represented. 

The negative view that was imposed on Bachata lasted and remained with its people even after they migrated to other countries. One of the prominent contributors to the genre’s revival and placement in a more positive light is Juan Luis Guerra. Guerra’s album released in 1990 called Bachata Rosa won a Grammy elevating it to a recognizable and legitimate genre that people would be proud to associate with. Guerra was initially not accepted by all Dominicans because of his lighter skin which many felt was not representative of the average Dominican individual. However, with time and as Guerra addressed more and more social issues that the people of the Dominican Republic were facing, he became known as not only an extremely talented musician and lyricist but also an advocate for the rights and liberties of his people.

Bachata has evolved in different directions over time. To my taste - generally speaking - less is more. I like the original sound of Bachata much more than some of the newer versions of it. My concern is that at some point Bachata won’t sound like Bachata anymore but something else entirely. If it were up to me I’d lead the genre in the direction of continuing to compose new songs, but with the explicit intent of keeping the genre true to its original simple and humble beginnings.

Critical Journal Entry #6 (Irish Folk Music & J’ouvert)

In the St. Patric’s Day parade, there are many Irish dances and instruments being celebrated throughout. Their iconic sound and movement are potent and rich - and for good reason. Unlike other genres which often drift away from their origins with the passing of time, the “continuous waves of migrants from Irland (to Boston) kept the musical style refreshed…” (Spinney, 81). As a result, Irish folk music is not only one of the oldest musical genres in the U.S, it is also of the most authentic and beautiful musical styles brought here through immigrants. 

To the untrained ear, Irish folk music may seem unfamiliar and not very common or popular. In reality, however, many pop songs internationally feature Irish instruments like the Uilleann Pipe as a central instrument or to add a key embellishment to a song. One Israeli/Middle Eastern Pop song that comes to mind is a song called “Wai-Li” by Omer Adam. Right out the gate, the song has that powerful yet graceful ring of the Uilleann Pipe giving it a kind of depth that otherwise would be hard to produce. 

The Irish people have a history of oppression, being colonized, and having to relocate suddenly due to economic and colonial shifts. Beyond its beauty, music is a means of coping and healing. It is no coincidence that Irish music traveled with its people as they migrated. Hence, when it comes to celebrating the Irish people and their history at parades, what better way to do this than to display this core component of their heritage for everyone to see? 

Unlike Irish folk music, the celebration and sound of J’ouvert have evolved and transformed through time and space. Beginning as a way of mocking their former master’s method of partying, the practice of masquerading at daybreak in Trinidad in many ways took new form as it moved to the US and is now celebrated in NYC as part of the larger West Indian Day Parade. There are definitely more instruments and noises than what might have been heard back in the day, and the edition of electronic music and amplification has also impacted the nature of the music in more recent parades. 

Albeit its newer form, the original concepts of J’ouvert still permeate today’s celebrations. J’ouvert’s story is rooted in a tale of freedom from slavery and the restriction of certain practices. Much like US immigrant traditions from other regions, “J’ouvert remains a grassroots celebration of Trinidadian Pan, calypso, and ole mas-deep cultural symbols that offer transplanted Trinidadians and their American-born children the possibility of connecting across space to native homeland…” (Allan, 273). Many of those who celebrate (perhaps more so the older generations) know the importance of the underlying narrative of J’ouvert. The intentional focus on the history of J’ouvert holds the core of the celebrations, keeping its sounds and images alive every time J’ouvert comes around.

Critical Journal Entry #7 (Gospel & Jewish music)

Gospel music is an uplifting, hopeful, and powerful type of music. It was born in the U.S. following slave emancipation and freedom. The timestamp is important to note since this is an element that separates Gospel music ( - the message of good news) and older Spirituals. Gospel features a bluesy jazzy musical tone and is often recited in the context of a choir that accompanies a lead singer.

Because Jews are spread out globally, there are many styles of music that are considered “Jewish Music.” In the U.S. the music that is most recognized as Jewish is music that originates and resonates with European Jewry. A famous example would be songs from shows (and the movie) like Fiddler on the Roof. This kind of music usually features clarinets, flutes, and vocals - among other additions. The foundation for European and global Jewish music is religious texts and traditions that carry some type of meaning. In this sense, Jewish and Gospel music are very similar. They are both inspired by years of tradition and heritage - messages that carried people through their sorrow for many generations. I would say that Jewish music differs from Gospel in that there are lots of very somber compositions about the human condition as a finite entity trying to reach higher through connecting to a higher power. (The higher power aspect exists in both, but the sadness and despair is probably more present in Jewish compositions.) 

The debate about who gets to produce what kind of music seems futile to me. Since I generally lean toward the notion that we are better off as a society if individual freedom and choice remain intact, I think that artists ought to be free to compose whatever they desire and are inspired by. The notion that this should not be the case because someone might get offended seems antithetical to basic human rights that allow for creativity and innovation. If the production of certain music was harmful to others in a concrete way, there may be room to argue for its censorship. Until then, I see no reason to consider any sort of filter on who gets to blend which genres even if some consider it blasphemous… (Kind of if you don’t like it, don’t listen to it… let the fans(/market) decide what they like and what is appropriate…)  

Critical Journal Entry #8 (Islamic music)

Islamic music is unique and striking in its own way. Rooted in a tradition where prayer is deeply valued, these signature middle eastern sounds and compositions leave their audiences moved and inspired. The contents of Islamic music revolve around faith and commitment to the commandants of god, and for many generations, the primary use of music in the Muslim community was to this end. Since there is currently a very diverse range of people who consider themselves Muslim and each has their own way of expressing and connecting with their religion, Islamic music is also very diverse in its nature. Some Islamic music is very traditional; not featuring many instruments and focusing on religious texts in their lyrics, while others are more current and go beyond focusing strictly on religious traditions and themes.

I think that the common theme in all kinds of music is that is a form of personal expression, storytelling, and a way to work through emotions and hurdles. These elements remain true in both religious and secular types of music. Where they differ is what medium they use to express these sentiments of hardship, hope, and love. Religious music maintains specific parameters around what can and cannot be addressed in music (keeping it to religious themes and texts). Conversely, secular music has no such parameters, leaving room for really anything to be expressed in music. I think strong cases can be made for selecting one type of music over the other. In the end, I’m happy to be in a position where I’m able to appreciate both religious and secular types of music.

 I loved listening to the “Nasheed” prayer. It brought me back to Sephardic synagogues and services that I have been to in the past. There is something special about the religious perspectives on hope and meaning that I am not sure can really be captured in the same way in secular music. I don’t know if it is the fact that they are based on such ancient texts, or that they speak to pain and the human condition and a beautifully poetic manner… Either way, I think that such prayers have significant cultural value and should be preserved and carried over for generations to come. 

Works Cited

Spinney, Ann Morrison. "The Boston scene." Irish Literary Supplement 26.1 (2006): 1-3.

Israeli pop song reference: https://www.youtube.com/watch?v=HOQ8N9LW3Gs

Allen, Ray. "J'ouvert in Brooklyn Carnival: Revitalizing Steel Pan and Ole Mas Traditions." Western Folklore 58.3/4 (1999): 255-277.