Big Blog #2: Music Culture of Japan

     While we discussed many musical cultures from around the world, one particularly rich culture remained undiscussed on a distant shore not to far from the U.S. Although more commonly known for its more modern customs and traditions, Japan's music culture lies deeply rooted in its interwoven history and customs. As old as they may be, traditions remain in the heart of Japanese culture, and will continue to influence both young and old generations for years to come.

    It is important to note the origins of Japan's early traditional music, as the instruments and customs were often shared in the early years with China and its religions (one of the most influential being Buddhism). While Japan's Shinto religion still remains core to society, Buddhism led to one of the first Japanese traditional music forms; shōmyō. Considered ritual music, this artform translates to both "wisdom" and "voice", and involves both chanting and slight instrumental through a tempo-conducting idiophone from Buddhist monks within a temple. Prayers are usually held throughout the ceremony as well. Along with the general conduct, the chant form can differ between two types; ryokyoku and rikkyoku (both having their own difficulty levels). Regardless, both styles utilized the pentatonic "Yo Scale" (which involved no minor notes), and within the rules of shōmyō form was to be sung without "worldly passion"/remain conjunct throughout the ceremony.

    Another traditional music form to originate in early Japan was Gagaku; a form of theatre dance and music. Translated as "elegant music", this artform involved both instrumental and dance as means of appeasing an audience (most often royalty). While many styles have been derived, two distinct forms are commonly used to associate what entails in a performance; kigaku (instrumental) and seigaku (vocal).

     

     As for the dancing, the two styles known as Noh and Kabuki are commonly used (with Kabuki being an exaggerated and stylized form compared to the more traditional and modest Noh). These dance styles were predominantly male cast, and paired with the music offered entertainment during the 14th century onwards. An ensemble known as a hayashi was often conducted with performances and consists of a flautist and three drummers. Each character, personality, and regalia has a specific name and concept, such as the jitsu-aku or "true villain" trope (a character that will resort to any vile evil to have their way such as kidnapping, etc.). There are also over fifty Kumadori patterns, each with their own meaning (such as Kuge Kuma; a style of blue face paint to represent a corrupt politician). These intricate designs and techniques paired with the traditional music then creates an enriching narrative as well as soundscape.

    While the setting and soundscape are important, the instruments featured in traditional Japanese music are just as needed if not more so. Featured in the video above is the Shamisen; a 3-stringed instrument played using a large plectrum that also can produce a beat when striking the strings as well as causing a vibration and note to emerge. The long bridge is then played similarly to most chordophones, and by sliding the fingers along the length many notes can be reached. This instrument is often featured in many ensembles and performances, and is a staple instrument to learn in Geisha traditions as a performing art. One key difference in this instrument lies in the notes produced, as its tuning follows a scale known as Miyako- bushi or the "In" scale, which features minor notes (a trait opposite of the "Yo scale" used in the performing arts such as shōmyō).

    Another crucial instrument in classical Japanese music is the Koto. Adapted from similar Chinese zither instruments such as the Gu Zheng over time, the instrument rapidly grew into one of the most popular traditional instruments in the nation. Originally only having 13 strings, this chordophone now has around 25 strings, each of which is played using claw-like plectrums that are adorned similarly to rings on the player's fingers. Along with the Shamisen, this instrument is also played along a "In" scale, and involves minor notes when played.

    One major aerophone used in both traditional and contemporary Japanese music today is the Shakuhachi; a vertical flute brought over from China to Japan around the 13th century. This instrument was commonly carried and used by both samurai and priests due to its portability and heavenly timbre, and is often associated with concepts/practices such as Zen and meditation. Traditional instruments such as the Shakuhachi often participated in a systematic passing on of knowledge through guild systems and instructions onto students. This instrument features the "Yo"/hard pentatonic scale, and can have a breathy timbre due to texture techniques such as tonguing to reach microtones.

    In the video above, the taiko drum is featured by Kodō; a drumming group that has toured across both Japan and the U.S. to promote and revitalize the taiko drum tradition. Along with the quite obvious drumming, intricate patterns and techniques can be heard; a feat only possible through immense strength and practice due to the titanic proportions of the instrument. The timbre can also be adjusted based upon the placement of the mallets used as well as the zones struck on the drum head. Dance can also be seen incorporated into the playing, as well as traditional vocals and sounds to enhance the soundscape and music.

    As for more modern/syncretic music, artists such as the Yoshida Brothers featured in the video above have adapted traditional instruments such as the shamisen to popular global genres such as pop, jazz, and rock. While many cultural features still remain such as the traditional Japanese regalia and instruments, the music produced alongside foreign instruments such as the electric guitar, electric piano, and drum set allow for an entirely new syncretic blend to emerge. Because of such creative adaptations and drives to preserve culture, Japan can remain rich in tradition, all while keeping both native and foreign audiences entertained for years to come.

Works Cited

“History Of Japanese Music.” Audio Network, www.audionetwork.com/content/the-edit/inspiration/history-of-japanese-music. 

“University of Wisconsin-Green Bay.” Regional, web.archive.org/web/20080313144427/www.uwgb.edu/ogradyt/world/japan.htm. 

Music and Family

 Me: "What is your favorite genre of music?"

Dad: "Hmm.. I'd have to say 90's"

Me: "What kind of 90's? 90's synth? 90's pop? 90's traditional folk?"

Dad: "I'd go with 90's pop. It really depended on what was playing on the radio."

Me: "What was one of your favorite songs on the radio at the time?"

Dad: "I really enjoyed Gwen Stefani's early band years in No Doubt with their hit 'Spiderweb'."

Me: "Ah! I see you have excellent taste!"

Dad: " I'm glad you like her music too."

Me: "On to the next question; Did you ever play an instrument?"

Dad: "I did play the acoustic guitar once."

Me: "How long/well did you play said instrument?"

Dad: "Ah, well... about a year I'd say, and not very well."

Me: "Aw that's fine. How about this question; what kind of music played around your house growing up?"

Dad: "Surprisingly not much, I would play songs in my bedroom but other than that it was mostly quiet."

Me: "Is there any instrument you wish you knew how to play?"

Dad: "I would have liked to learn either the piano or violin, however the digeridoo would have been interesting!"

Me: "That definitely is similar to my beginning interests in instruments too! On to the next question; what technology did you use to listen to music as a child and into college?"

Dad: "There were mostly radios around when I grew up, and around my teenage years cassettes became popular. Around college I would say CDs were most common."

Me: "Are cassette tapes really as crappy as we're told they were?"

Dad: "Absolutely. Between the rewinding and fast forwarding they were a handful. Especially when you had a favorite song. Oh, and when they malfunctioned you had to dig them out of your player and buy a new one."

Me: "Wow, that sounds terrible. I know I had a few growing up, but thank goodness they went out of style. Next question; did you have any piano in your house growing up?"

Dad: " No, but I did have an electric keyboard that I gave to you to play."

Me: "Aw I remember that! Well, thank you for taking some time out of your day for this, I really enjoyed talking to you!"

Dad: "My pleasure, and just so you know. Red Hot Chili Peppers and No Doubt are the best bands ever."

Me: "Haha, Ill make sure to write that down!"

Music and Gender

     While gender does not clash with my personal history in music, the environments I have grown up in have been. Being raised in the early 2000's, the mainstream music genres were majority male musicians and singers (with the occasional female support/chorus singer featured in the song for larger audiences, etc.) Although music has recently adapted to be more female-inclusive, many aspects still remain biased and unwelcoming to new female/non-male artists. This ranges from concepts such as "girly genres" associated with pop, the "non-feminine nature of rock and roll", and so forth. 

  

    Coming from a background of around 7 years in concert/symphonic ensembles, I have both played and listened to countless genres and instruments (including the flute, piano, violin, ocarina, guitar, ukulele, and percussion line/drum).  As such, my personal experience with music takes on a variety of forms including classical and modern/popular music (with the above example representing my classical and popular music sides respectively). One key difference however within these examples lies gender; or rather how it is regarded throughout popular music in comparison to classical. While classical can represent genderless emotion/expression, trendy music almost always reflects a specific gender-based and commonly stereotypical concepts in an attempt to pander (such as women with makeup/relationship issues and men with boredom/physical activity/anger). These beliefs then lead into the beginnings of gender divides within genres (such as pop and rock). It is because of this that I chose the example of Gwen Stefani and Pink singing Gwen's song "Just A Girl", as their history of being musical revolutionaries for their genres/gender represent the common struggles of gender bias in the music industry.

   

    For me and many others, music acts as both an escape and enjoyable pastime, as it allows access into new headspaces and emotions (my brief examples of this being "Tomorrow" by Kevin Penkin and the orchestral arrangement of John Powell's soundtrack for Dreamwork's "How To Train Your Dragon"). By using a full range of instruments including membranophones, idiophones, aerophones, and even choir/opera singers, music can provide multiple soundscapes at varying levels. Even so, classical music itself faces a challenging setback; its reception remains quite isolated to its specific audiences. As such, many dated traditional beliefs such as gender-specific instruments still exist to this day (for example the disapproval of female percussionists and male flutists). As time has progressed these issues have reduced in number, but unfortunately still face new musicians to this day (especially from social perspectives both in and out of performances from the public). Even so, the unity that can be derived from such music can heal and repair gender separation within the music industry, allowing for both increase in self-expression and personal/societal growth on all sides.

Big Blog #1: American Roots Music: Funk

    While America’s current genres can be widely acclaimed as some of the most popular music of today, their roots can be traced back for centuries. With North America’s colonization featuring a various assortment of fully fledged countries such as Spain, England, and France, their input and effect on colonial beliefs and cultures is clearly heard throughout countless pieces in musical history. It is because of this that American roots music represents a true melting pot of culture; a syncretic blend that unifies all aforementioned traditions into a new and unique style that remains diverse and ever evolving to this day.

    With the arrival of new cultures, instruments such as the guitar and fiddle/violin were brought over into North America, along with a vast multitude of singing, dancing, instrumental, and percussive practices/styles. Over the course of colonization and independence, many low-class workers such as indentured servants and slaves found themselves working long hours together over the course of many years, sharing what little free time they had in the form of a vast cultural exchange and development. These interactions along with the preexisting cultures brought ashore formed what is now regarded as the blues; a genre of work music that received critical acclaim in a variety of social circles due to its relatable messages and captivating tunes. Through this fame, many musicians arose to create their own styles of music, eventually leading to the countless genres of American music known today.

    One such genre to arise from famous predecessors such as the rock and soul styles is funk; a music type that features strong rhythms and excitable tones to invigorate and incite its audiences. This excitement usually was expressed both on and off stage through dancing and other forms of choreography during the performance. One such scene of this raw energy can be felt during a monumental experience during Hollywood's James Brown concert in 1983, in which both Prince and Michael Jackson join singer and “Godfather of Soul/funk” James Brown on stage for a live performance.

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This clip not only features two of the most famous funk/pop singers to date, but one of the progenitors of the funk genre himself. Born in Barnwell, South Carolina on May 3 1933, James Brown’s funk career lasted 50 years, with gospel singing and blues as his musical background. While he may have died at age 73, his music went on to inspire many up and coming artists such as Michael Jackson, Dr. Dre, Ludacris, MC Hammer, Prince, Ice-T, Jerry Lee Lewis, Lil Wayne, Lenny Kravitz, 50 cent, Stevie Wonder, and countless others (all of which attended his funeral in Augusta, Georgia on December 29, 2006).

 

Although the artists that took inspiration from funk were a diverse group, the instruments and techniques used to create it were extremely common and are still in a multitude of various popular genres. Similarly to the blues, an A/A/B pattern can be heard behind some lyrics and/or chords. In other cases however, funk differs in its nonexistent harmonic changes; focusing on staying “in the moment” rather than plotting out or formalizing notes, etc. One specific and major difference in funk from the other genres was James Brown’s signature “on the one” rhythm; a playing/singing method that added emphasis on the first downbeat of every measure. Temporal asynchronies dubbed “micro-timings” were also used in the creation of funk music, providing audiences with the notorious groove that became essential to the genre’s auditory themes. Instruments such as the guitar, keyboard, drums, and background singers are often featured within funk albums. Even with similar instruments, the syncopated harmonies and addictive drumming patterns combined with the intense singer/crowd energy allowed for the funk genre to sweep the nation (especially during the 60’s to 80’s), and remains as one of the most famous music genres to this day.

While James Brown is regarded as one of the fathers of funk, several other bands were involved in spreading the good vibes. Over the course of the 60’s, bands such as Sly and the Family Stone founded new forms of funk such as psychedelic funk to ever further develop the popularity of the genre. Although funk primarily focused on good times through song and dance, the core messages behind the bands eventually became one of social commentary and personal freedom/expression. Many funk musicians came from troubled backgrounds, and in the hopes of releasing past pains and creating good times used their newfound platforms to raise awareness of topical issues (such as addiction and drug abuse for the lead singer of Sly and the Family Stone Sylvester Stewart).

Funk peaked during the 70’s to 80’s, with artists such as Rick James and Earth, Wind, and Fire releasing “Super Freak” and “September” respectively. It was also during this time that other genre musicians (such as Motown’s Stevie Wonder and Michael Jackson) started incorporating funk traits into their music (using the practices behind funk as a baseline for many of their songs afterwards). One example of this is Michael Jackson’s “Billie Jean”; a song that utilized the heavy bass and powerful downbeats of funk to provide a strong beat (topping multiple charts upon release and becoming yet another hit single of his).

After funk established itself as a classic American genre, many musicians in turn began to create their own derivative genres from its roots (as was tradition since the creation of blues). One such genre was 1970’s disco, as well as new forms of jazz, punk, hip-hop, and rock in the 80’s. While funk eventually gave way to new-age popular music, it remains one of the most impactful genres to this day in America's musical history, paving the way for future artists and genres alike.

Works Cited

Bettison, Oscar. “I Wanna Take You Higher”: The Stylistic Development and Cultural Dissemination of Post-Psychedelic Funk Music, Princeton University, Ann Arbor, 2009. ProQuest, https://search.proquest.com/dissertations-theses/i-wanna-take-you-higher-stylistic-development/docview/231557428/se-2?accountid=10259.

“Early American Music.” George Washington's Mount Vernon, www.mountvernon.org/library/digitalhistory/colonial-music-institute/essays/early-american-music/.

“History.” The Funk Music Hall of Fame & Exhibition Center, 6 Nov. 2019, www.thefunkcenter.org/history/.

“James Brown.” Wikipedia, Wikimedia Foundation, 13 Apr. 2021, en.wikipedia.org/wiki/James_Brown.

Kilchenmann, Lorenz, and Olivier Senn. “Microtiming in Swing and Funk Affects the Body Movement Behavior of Music Expert Listeners.” Frontiers in Psychology, vol. 6, 2015, doi:10.3389/fpsyg.2015.01232.

MasterClass. “Funk Music Guide: Understanding Funk Music - 2021.” MasterClass, MasterClass, 5 Mar. 2021, www.masterclass.com/articles/funk-music-guide#a-brief-history-of-funk-music.

“Music History of the United States.” Wikipedia, Wikimedia Foundation, 9 Apr. 2021, en.wikipedia.org/wiki/Music_history_of_the_United_States#Soul_and_funk.

Cool Stuff: African Music

  

The Mbira:

    Originating in Zimbabwe over a thousand years ago, this instrument is played using the index and thumb fingers to vibrate tuned metal pieces. This can then be played with both hands, allowing for a melody and harmony to be played at the same time. The timbre of the instrument is very light and chime-like, with a high note range. By constructing it out of simple materials such as metal and wood, the portability and storage of the instrument itself increases (a trait key for traveling musicians and families). This instrument also has a descendant called the Kalimba, which is similarly constructed but with slight note/timbre differences as well as its default tuning. The Kalimba is also very popular in modern media, and is often featured in many viral music videos for its soothing sound and simple appearance.

The Gome:

    Similarly to the Mbira, the Gome drum originated from South Africa (specifically Ghana). Like many South African drums, it features an animal hide face with which to strike to produce base notes and powerful tones. However, one key feature that is unique to this drum is its capability to be played with both the musician's feet and hands (either separately or at the same time). By sitting on top of the instrument, the heel of the foot can act as both a mute and a mallet, while the hand/palm strikes for sharper notes. This then allows for not only ample percussion, but further expression during both group and solo playing from the musician.

South African Folk Dances (Domba, Volo, Ingoma, Indlamu & Mzansi):

    (*Warning for occasional/slight light flashes*)

    For my last topic, I wanted to include some traditional folk dances from across South Africa. In this example, the Domba, Volo, Ingoma (male and female dance), Indlamu & Mzansi are featured, along with drumming from Zulu culture. The vast array of both dancers and techniques displayed during this presentation reveal how diverse the cultures are across South Africa truly are (contrary to the common belief/concept of simple and migratory tribes/communities).  Along with the Zulu drumming, the dancers also use traditional items from each of the represented cultures (such as the traditional regalia at 3:35, or the war shields at 8:40). By coupling these traditions in a performative manner in front of an audience, culture can not only survive but serve as education both in and out of the original communities, furthering public knowledge as well as awareness of the diverse world around them.

Cool Stuff: South America

    For my first entry, I wanted to analyze and understand the soundscape of where these instruments would be played, along with the traditional sound and roots. This recording takes that desire to an entirely different level, with a traditional Incan master musician playing in traditional garb while in Cuzco (which if you didn't know is regarded as the historical site of the Incan capital). By playing these instruments within the walls of such a historic area, the culture and music can be felt by both sight and sound ( a feat hard to replicate even within a controlled environment such as an auditorium).

 

    After listening to traditional Incan music both in and out of class, one musical instrument intrigued me the most; the Chajcha. Surprisingly enough, I grew up around one of these, as my grandmothers favorite place to visit was the Andes when she was young (especially for the cultures that arose there). This video breaks down how the idiophone creates its sound (via the hollowness of the hooves) as well as the construction of the Chajcha itself, which was very interesting as well as entertaining to watch and admire. The drumming at the end also represents an unusual form of musical syncretism, as he later attaches the finished (Incan) Chajcha to the (American) snare drum/drum set as to obtain a somewhat syncopated rattle to each snare strike.

    With all of the music and instruments in mind, I wanted to spend my last moments of reflection on the environment and culture this music was formed in, as well as the citizens involved in these traditions. This video takes that desire to an entirely different level, with aerial shots and filming of some of the most famous Incan sites as well as traditions across Peru. From llamas to ruins, this short 6-minute film dives in to one of the richest cultural scenes I have ever seen, with all aspects of life, customs, hobbies, and passions explored. It is with this note that must say that Peru as well as South America will always hold a sense of wonder for me, and will hopefully continue to do so years into the future.

Blog #2: Music, Religion & Philosophy

    While most blogs will be concerning specific aspects and/or denominations of a religion, I would like to instead explore the direct development and change within the "usage" and "aesthetics" of Christian music in general. As a religion influenced by many surrounding beliefs and customs, cultural influences are important to remember while discussing this topic. By exploring the change within traditional and current Christian music, I want to reveal the changes and adjustments that have occurred over the course of time.

    

    For my first example, I wanted to use a classic childhood hymn. This specific song stood out to me while recalling my past due to its vast and catchy nature. It uses the repeating melody and hymn structure to ingrain the song into listeners (especially young children as a means to continue the communal singing tradition). By singing within a group while in a church hall/pews, the words can be physically felt within the body, further impacting the listening individual. In terms of aesthetics, the word choice and structure is entirely directed as a form of religion spreading/teaching.

    My second example completely changes the tradition of Christian hymn and group singing. In this church, a band is brought in to play and sing famous religious songs that are well known regardless of denomination/religion. Preaching, guest speakers/singers, and activities are then centered around a specific topic selected for the day (ranging anywhere to everyday difficulties to directly biblical concepts within scripture). This is a complete reversal of the traditional "hymns in unison" structure/"preach/sing/preach" method that most churches were founded upon. While the usage remains the same (to promote and catch listener's attention), the aesthetic is based upon modern Christian tastes and youth preferences.

    I wanted to include an actual sermon example for my case on the "new-age" religion topic. While classical Christian preaching usually involves "turning off your phone and tuning into God", technology is carried alongside traditional texts in this case to include both new and old traditions into one. Presentations as well as concerts are held during the extent of the sermon, along with community videos and concerns, all within a large auditorium. This is a completely different environment than the traditional "pew and altar/pulpit/lectern approach". While some may see this as a drastic change, the immense audience that the fusion reached allowed for this specific community to exponentially grow within its founding years. By approaching religion as a foundation for growth/development instead of a set-in-stone creation, the teachings can continue to be spread to the ever diversifying audience at a level of unparalleled understanding.