Nass
Muet200
TA: Alexandra Deborah Byrd
February 7, 2012
Unit I, Section A: Ethnomusicology and Music-Culture
Readings: Titon The Music-Culture as a World of Music and Charry Jeliya
Focus Questions (Titon):
1. What is a soundscape? Stand still for a moment anywhere on campus and
describe the soundscape.
A soundscape is the characteristic sounds of a particular place both human and
not human. These sounds capes are within the acoustic environment in which sounds,
including music occur. We are able to experience the idea of soundscape everyday and
we dont even realize it. When I was walking on campus I noticed the sounds that I
usually take for granted and dont really pay attention to in my daily occurances. The
loud songs playing from peoples ipods, and the noises of the traffic from the buses and
cars.
2. How can you define culture in an anthropological sense? Why are
ethnomusicologists not satisfied studying the music itself but study music as
culture? What does this mean?
Culture is the idea of a groups involvement with music: ideas, actions,
institutions, material objects; anything that deals with the world of music. All of the
beliefs and activities associated with music are part of a culture. Culture is the way of life
of people, learned and transmitted from one generation to the next. Ethnomusicologists
are dissatisfied with studying the music itself because people may be baffled by music
outside their own music-culture, so they may find the music difficult to hear and enjoy.
3. Can you explain in your own words what a music-culture is and why people of
different cultures might not have the same idea of music?
Different cultures give music different meanings, which impacts the way cultures
value certain music. People from different cultures might not have the same idea of music
because music sounds out of tune when its system is judged by standards of another.
Also, an explanation was that listeners all over the world have prejudices based on the
music they know and like.
4. What are the four key elements of a musical performance? How do they relate to
the four circles of the music-culture model? Do you think the music-culture model is
useful in understanding a musical experience?
During a musical performance, there are four key elements: music, performers,
audience, and Time & Space. The elements within a musical performance model
correspond to the elements within the music culture model. The circle corresponding to
audience within the musical performance model becomes community in the music culture
model, which carries on the traditions and norms of performance. The community
support impacts the direction of specific kinds of music in the future. The music-culture
model is useful when trying to understand a musical experience because it displays how
each music-culture relates music to its worldview. The parts of the model convey the
different aspects presented within musics culture.
5. Apply the four components of a music-culture to a genre (type) of music from
your culture. Be sure you understand the difference between elements of a musical
performance and the four components of a music-culture.
Alternative music can be influenced by the four components of a music-culture.
The ideas and beliefs of alternative music can be used to express a certain story or
message through the lyrics within the songs. The activities involving alternative music
can include dancing or listening while in certain moods and encountering certain
emotions. The repertories within alternative are displayed through the style it portrays
because of the words within the songs that influence certain emotions. The music culture
of alternative music can be portrayed within written and oral traditions.
6. What does it mean that music-cultures are dynamic rather than static and that
the rules of performance, aesthetics, interpretation, and meaning are negotiated?
Illustrate this in a genre close to your experience.
Music-cultures are considered to be dynamic rather static than because music
always changes over time. Over generations the different cultures value music in
different ways, so its never static because its constantly changing. The performance
analysis consists of the window into cultures, and cultural and individual identity. The
rules of performance, aesthetics, interpretation, and meaning are negotiated through
authority and power, gender, ethnicity, race, class, religion, and the cultural boundaries
and borders. Music is considered to be an effective experience, which is illustrated by the
power to move. This can be illustrated through pop music, such as Beyonce, If I were a
boy.
Focus Questions (Charry):
1. Is it enough to say that a jeli is a musician and oral historian? Give at least five
roles that jelis play in society.
Jeli is more than a musician and oral historian because they are artisans and shapers
of sounds, such as numas are artisans and shapers of metal, wood, and clay. Jelis
play a myriad of roles within society. Jelis specialize in speech (kuma), the vehicle
for historical narrative, and geneologies. Jelis are present, praising the participants
or playing their own drums ( the tama and dundun). Jelis are always acting on their
role as a social or political motivator. Jelis command the greatest respect in terms
of their right and duty to perform.
2. What are the three areas of expertise in which jelikeli (male jelilu) specialize?
What about jelimusolu (female jelilu)? How do they acquire their expertise?
As the jelikeli move into adulthood, they specialize in areas of their keenest
interests. They are competent in speech, singing, and instrument playing, but usually
excel in just one area. The jelimusolu specialized for their authoritative and powerful
singing that doesnt recognize male performers. The generation of the Malian jelimuso
singers convey a sense of power while influencing their patrons in the audience. The
Jelimusolu are well versed in the history of the people.
3. What is the difference between kuma and dnkili and how are these
concepts/practices related? How do you think jelis might relate to Rap?
The concepts of kuma and donkili are signified by the Jelis. Jelis refer to eachother
as: singers, which is donkili, instrumentalists, or speakers, which is Kuma.
Jelis use speech to influence storytelling, praising, and proverbs, which are then
integrated into a song, which can then be integrated into speech. The distinction
made between donkili (songs) and kuma (speech) are based on knowledge and
gender. Although knowledge is not an essential factor of song, it is crucial in the
idea of speech. Jelis relate to rap because of their recognition of earning a
reputation in their authorities and powerful singing, which has no parallel among
male performers. Their style of delivery of these songs implicates the realities and
the materialistic gifts received upon them.
4. What do jelis say about their origin and why is Kouyate considered a pure jeli
lineage?
The first Mande Jeli is known as Gnakoman Duwa, his son Bala Kouyate was
Sunjatas jeli, which is known as the ancestor of the Jouyate family. Jelis state their from
Surakata, which is known as a companion of the prophet Mohammad. Kouyate is
considered to be the only pure Jeli family name. Kouyates were recognized as pure jelis
because, unlike other jeli lineages they didnt split off from a branch.
5. Why is the social status of the jelis paradoxical? Can you explain what their social
hierarchy is based upon?
The paradoxical of the social status of the Jelis has recently received crucial
attention because of observers distancing away from hierarchal assessments of the
interpretations of social roles created at birth. The roles of speech and action influence
comprehension of power and standing of jelis. The jelis social hierarchy is based upon
the history of resentment of jelis; observers stating, Nothing is more dreaded by an
African than a bad name from the Jelles, explicate this history of resentment.