1. The terms use and function are described by Merriam whereas use is the concept studied is to increase factual knowledge directly. Function is an attempt to increase factual knowledge indirectly through the deeper comprehension of the significance of the phenomenon studied. (Merriam 209) Scholars in the field tend to agree with Merriams assessment for the most part.
The only point in question that I gathered from the readings is that there is some discrepancy whether all the activities in a culture have a function. Merriam seems to think that they do or else that activity is not a function of society. Nadel believes that there are varying degrees of function in a society (Merriam 210) but adheres to the same basic definitions of function. 2.
The tripartite model of analysis that Merriam uses contains concepts, behavior, and structure. Concepts are the elements that come into play to integrate music into the life of a society. One concept for example is that of what a society considers music and what it considers to be noise. The manner in which that same society uses and organizes music is an underlying concept of the former. (Merriam 63) Behaviors are the result, or a translation as Merriam puts it, of a cultures concept music. Merriam categorizes behavior in this manner, Four major kinds of behavior can be isolated in respect to the production and organization of sound; these include physical behavior, verbal behavior about the music sound, social behavior both on the part of those who produce music and those who listen and respond to it, and learning behavior which enables the musician to produce the appropriate sounds.
The Essay on Analyzing the functions of music in upcoming Rappers
Prach Ly’s Power Territory and Rice functions as a link between his heritage as a Cambodian and his ambition to give back to those who became targets in the tragedy of Cambodia. He communicates the lyrics in a provocative rhythm which sets the tonality for the listeners in a grave and arguably concerned poise deeming his lyrics to be of a serious nature. His rap therefore takes a distinct tone ...
(Merriam 103) The structure component is the more concrete of the there analytical levels. It is the music sound itself in the context of how it is created and used. (Merriam 20) These three levels have a strong connection in that they all are codependent on the other If there is no concept of what music is, then there is no certain behavior that can be had from a particular sound or rhythm. Structure could not exist without some idea of what it is supposed to be. I think this could be a useful way to look and think about music if every person in this field agrees upon a common definition of terms.
When the endeavor to learn is undertaken a concrete method by which to catalogue events and facts is needed, but if there isnt a universal way for all who study the same phenomena can compare and contrast then it makes sharing knowledge somewhat difficult. 3. Clarification of Merriams viewpoint when distinguishing between folk evaluations and analytical evaluations I think is best characterized by paraphrasing Paul Bohannans definition. Folk evaluation is internal to the specific culture being studied / observed with the intent to understand what is happening in order to take part or be involved in the activity. Analytical evaluation is observing activity to understand what is taking place in order to re-communicate what was learned and to educate one culture in the ways another.
(Merriam 31) I think this distinction is both helpful and necessary. Studying a culture obviously involves more that one participant, the observer and the observed. It must be taken into account that the society an ethno musicologist is studying knows the purpose of what they are doing and it would ludicrous to think that without having been brought up in that society culture an outside observer can fully understand and grasp the full context of what he or she is observing. Hence it is necessary for this distinction to be drawn.
The Research paper on Culture Technology A Case Study
Culture & Technology: A Case Study We live in a time where information is only a mouse-click away for a large portion of the country and the world. Up until ten years ago, people had to go to their local library or purchase an expensive encyclopedia set for their home just to obtain information. Now, information is free and easily accessible from the home. Why pay five hundred dollars for an ...
4. Functionalism is the activities of a particular society in a culture combined with the reasons for the activities and significance the activities play in that society. Music in these terms is an activity that may be found in a specific culture and ethnomusicology is the study of music in a specific culture. The whole reason for the existence of this field is to study the function of music in the context of a society in a specific culture. 5. Mbira music consists of two main parts.
The first part being called the kushaura meaning to lead the piece and the second named the kutsinhira. The kushaura is the key to identifying a piece. It provides the main melodic structure of a song. The kutsinhira mostly provides rhythmic contrast more so than harmonic. Most often mbira pieces are in a triplet feel with accented downbeats and are contained within 4 phrases in length. 6.
The three vocal accompaniment styles in mbira music are the mahonera, huro, and the kudeketera. Mahonera is described as a soft, syllabic style of singing, usually in the singers lowest comfortable range. (Berliner 115) The huro contrasts the mahonera in that it is in the upper range and compliments the melodic lines rather than the bass line. It also so utilizes a form of yodeling called kunguridzira. (Berliner 117) Third is the kudeketera style.
This is a verbal style that includes poetic lines that associated with particular mbira pieces, other lines appropriate to any mbira piece, and lines improvised in response to events taking place at the time of the performance. (Berliner 121) Although these are separate styles they can be used in the same performance or in combination with each other. 7. The bira is an important religious ceremony for the Shona people. Its significance is to enable the people to call upon their ancestors for advice or help with a situation. Ancestors are reached via the possession of a spirit medium.
A bira is also held at season changes to beseech the gods if there are needs to be met. The ceremony usually starts at dusk and continues until dawn the following morning. A ceremonial beer is brewed especially for the occasion. Typically an mbira group is hired to play throughout the bira in its entirety. 8. 9.
Birds are believed by the Kaluli society to be gone reflections of their ancestors. The role of how many different types and what song each bird sings is important to understand to realize the place birds hold in Kaluli culture. The Kaluli view every song from each bird as a different voice representing a loved one that has gone on before them. Music is used to communicate and order to communicate with that person one would need to recognize and be able to imitate that bird call or song then being able to incorporate into music.
The Essay on Dancehall music effects on the society
It is a task, privilege and or opportunity for me to use this essay to inform you on multiracial societies in the Caribbean and help you the reader to understand why we have multiracial societies in the Caribbean. In this essay I will be highlighting or placing emphasis on a few key terms. It is also my duty or task to explain and define to the following phrases or terms to you; on what a ...
(Feld 217-18) 10. Weeping in the Kaluli society is a gender divided phenomena. The men are characterized with iligi-yelema, gana-yelema, and gana-gili-yelema. The women are characterized with gese-yelema, and sa-yelema.
Generally the difference between the to gender types of weeping is that the men are more prone to uncontrolled and spontaneous, whereas the women are more given to controlled and melodic weeping. (Feld 262) The iligi-yelema is sudden and startled, gana-yelema is a loud melodic falsetto, and gana-gili-yelema is loud, melodic shrieking. Gese-yelema is a sorrowful and pitiful melodic from of weeping, and sa-yelema is a melodic weeping that is sung with a text. (Feld 90-93).
