The definition of improvisation can differ among regions and cultures just as it does in Western culture with different definitions within the jazz and classical worlds. As the examples provided in class as well as from the readings demonstrate, it is important to avoid generalizations when looking at world music and their views on improvisation because of the significant differences, although there are interesting similarities to note in some cases. Like we saw in class, jazz is much more developed in terms of improvisation in the freedoms that a musician is allowed, since so many other styles have many more restrictions in what they can play. Some of these world music traditions are so cemented in local custom or religion that it could be considered offensive to deviate from.
One idea that I found especially interesting from the readings was A.J. Racy referred to as “glocalization,” in which local traditions and customs are embraced in the face of a shrinking world as communication has become more available. Dr. Porter suggested that a worthwhile way to research in the field of ethnomusicology would be to compare recordings from the early twentieth century with recordings today, which I think would be an interesting way to measure any possible effects of globalization on music. One question I have been thinking about since Thursday’s class relates to this is if there was any significant Western influence on the music of these regional traditions and styles, since it was addressed in class that European nations were each more familiar with the music of nations and regions that were formerly colonies.
Personally, I was very interested in the class’ coverage of Indian music, specifically with looking at the ragas, and admit to not knowing much about the genre prior to the readings or the class. I have always been too intimidated to look at Indian music studies, but after Thursday I felt more at ease about it, particularly with the amount of similarities in Western scales and modes used. What bothered me from this discussion was the "world music" that is sold under that label at most music stores in the US, something we covered near the end of the class. With just a simple glance at the bestsellers on Amazon under “World Music,” most of what you find is essentially western popular music with a “world” sound that is more like a gimmick nothing like the interesting kinds of musical examples that we were able to hear in class that are genuinely different.
Good idea (even if it's depressing!) to check what is being marketed as World Music online.
ReplyDeleteAlso, you will be interested to know that British author Stuart NIcholson applies the concept of "glocalization" to jazz in his book "Is Jazz Dead?"
Also, I suppose you know that one of the few jazz musicians to combine jazz with native American music was a native American saxophonist with your name--Jim Pepper.
Lewis