Week 3 discussion – Africa/Indonesia
Rules for success:
1. Always, always, always, include the name of a piece of music that is being discussed or referenced, the name of a video being used, and its presenter or performing group, or no credit will be given for your answer.
2. Researching using outside sources and plagiarizing: Searching for answers from sources other than Mindtap, Simoncic lectures, videos, or assigned youtube videos will not be accepted. Outside sources are often dated or often only partially accurate. Plagiarizing using AI or another student’s work or an outside source will be handled according to the NU policy found in the Syllabus. With the new Artificial Intelligence available, cheating has become a more common practice. I will keep a close eye on the answers submitted by students. Use your mind not the mind of a machine.
Africa/Indonesia. Remember Rule #1 and Rule #8 and Rule or lose many points!
Total 104 points Possible
Statement: Things to remember: Much of the traditional (non-Westernized) music from many cultures and countries in Africa focuses on a monophonic melodic line with non-pitched complex rhythms. Once they add Western culture, then the music begins to change into a more “Western” concept of harmony, 4-bar phrases, and elements of American “jazz and pop”.
DB 2 Week 2 Africa and Indonesia: Due date Sunday 8/20. Always number your answers, refer to the name of the video or the name of the music when answering a question, or lose all or part point values for your answer.
Links for viewing: There are times when two links for the same video are provided. One of the two should work. If not, use the Youtube Title of the video.
1. (4 pt.)Music Textures: https://www.youtube.com/watch?v=teh22szdnRQhttps://www.youtube.com/watch?v=teh22szdnRQ
Answer this: Write a brief review for each texture example in this video: Rule#1 and 8 always applies.
Remember Rule #1 and Rule #8 or be prepared to lose points.
2. (4 pt.) https://www.youtube.com/watch/irR4qlFMuyA https://www.youtube.com/watch?v=irR4qlFMuyA Youtube Video Title: Agbekor Poylyrhythmic Patterns: This is a Bell Graph Video: A Hands-on section: Follow and tap only the initial bell pattern using only one hand even when new patterns emerge. Keep tapping only the initial bell pattern throughout the video from beginning to end. Answer this: When and where was or were the biggest stumbling blocks, if any, to continue the bell pattern? Be specific!
3. (3 pt.)Most traditional music from anywhere in Africa is monophonic in texture. Answer this: What does that imply?
4. (5 pt.) As you listen to the “Postal Workers Cancelling Stamps” Active Listening; pay attention to all the sound’s and music elements that are present. Answer this: Which are more traditional African traits, and which are influenced by Western Music?
5. (10 pt.) In MindTap 3.1 Postal Workers Canceling Stamp Song and 3.6 Nag Biegu: Compare elements of musical style such as rhythm, melody, and texture. Answer this: Point out a minimum of 3 basic music similarities and 2 obvious music differences.
6. (5 pt.) From MindTap reading: Music education or learning how to perform music in Africa depends on a “society-wide process of enculturation—that is, the process of learning one’s own culture gradually during childhood.” The music is so casually created by the Postal Clerks’ Canceling Song seems effortlessly “beautiful.” Answer this: Can you think of a time when you experienced “enculturation” learning your culture through music during your K-12 education or maybe from other sources?
7. (5 pt.) Find Africa Statements, posted above Discussion 3 in Module 3: locate statement #2 then write a brief comment, using your own words, on what is meant by “generalization must be critiqued”.
8. (10 pt.) Read Statement #6 from African Statements then address and write what your understanding is from each numbered 1 through 5 in Statement #6. Address each separately:
9. (6 pt.) https://www.youtube.com/watch?v=PX8YPAXebyc or use Youtube Title: Human Planet| BaAka Music| Eden Channel. In the video, the narratorat timestamp 0:18 to 0:45 addresses polyphonic singing. Focus specifically on how the narrator describes it. Do not address “chest and throat” singing as it has NOTHING to do with polyphonic singing.
10. (5 pt.) Now Open Cengage MindTap, Active Listening, and “Makala” again: focus on the theme, drumming, and counter melody. Answer this: How did this recording of improvised polyphonic singing from the Mindtap 3-10examples help further clarify or add to your understanding of polyphonic improvised singing #5?
11. (5) https://www.youtube.com/watch?v=lVPLIuBy9CYhttps://www.youtube.com/watch/lVPLIuBy9CY. Or youtube title: “There is no movement without rhythm”: In industrial nations, people are paid to perform and entertain while the majority of us are consumers and not actual music making participants. Answer this: Not including pop culture concerts, where might the average American have an opportunity to participate in a live event that uses music?
1. (2 pt.) Answer this: What is the importance of Mbira and Mbira music in the spiritual realm?
1. (5 pt.) Active Listening 3.7 Cutting Branches for Shelter. Listen at least once without distraction. Answer this: Did it bring about a true spiritual possession for you or do you believe it’s a matter of learned behavior and conditioned response? In other words, would people, not of the same belief and upbringing, tend to have the same emotional and spiritual feelings? Why or why not.
2. (3 pt.) Answer this: Briefly describe how Mindtap presents “Three Images of the Forest People” 3-6A
3. (10 pt.) Youtube Title: Fela Teacher Don’t Teach Me Nonsense. (live at the Shrine 1987) https://www.youtube.com/watch?v=tE2HXCFMoachttps://www.youtube.com/watch?v=tE2HXCFMoac
Read, watch the video, and follow the timestamps: The Simoncic music analysis is provided for you: It is a simple analysis. Follow and listen to each provided timestamp below; and read my short captions. It is not an in-depth analysis by any means.
Teacher Don’t Teach Me Nonsense At timestamp 1:31 the rhythm section begins to play a short-repeating pattern: At timestamp 1:51 electric keyboard begins to play Western Influenced harmony dating back to the 17th century of European music: That same harmonic and rhythmic pattern is 8-beats long, or 2 music measure in 4/4 time and repeats again and again: As this same pattern continues, Felu, at timestamp 2:47 begins a little improvisation on the keyboard: at around timestamp 3:54 saxophones enter with a little improvisation. The whole time, however, the same exact 8-beat harmonic and rhythmic pattern keeps the foundation going. It is usually crucial for dance music to be repetitive so that steps and movements don’t become complex for the dancers. That said, ballet is a different story altogether. Continue reading and listening:
When the trumpet solos and the saxophone solos enter, they are improvising using the American Jazz style of improvisation.
At timestamp 20:24 it is African-influenced music with asymmetric meters and a call-and-response between the saxophones and singers. Starting at or near 20:25 to 34:36 the melodic design, call and response, and rhythms are similar to and reflect traditional African music.
Answer this: Using the information and timestamps did the information provide a “little” better understanding of the music and how Fela used European harmony, American Jazz, and traditional African music styles in this piece? A yes or no is not enough. Use references from the Simoncic analysis not from any other sources!!
Part 2: Complete the readings for this week—chapter 7, Sections 7-1, and 7-2 from the recommended book. Then, watch Jogjakarta Kraton Performance by Gamelan and Dancers and listen to Kosalia Arini.
1. Describe some similarities and differences between Javanese and Balinese Gamelan music cultures based on the following two features for letters Aand B:
• (5 pt.) A: Instruments, including gongs
• (10 pt.) B: Relationships with dance, dance-drama, and shadow puppetry
• 2. (12 pt.) Write a response to two other class postings: You must address the student by their name when writing a response or no credit will be given.
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