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Music of sub saharan africa
Music of sub saharan africa
Music of sub saharan africa
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Listening choice MUSIC 115-01 (Rodney Bruno Course#2946) Good afternoon Dr. Pruett, I would like to select "Homeless" (1986) by Paul Simon for the final written assignment. In the paper, I would like to discuss how Paul Simon utilizes the sound of Africa in a popular western culture. I am also curious to explore elements he alters to appeal to a western audience. Thank you for time and consideration, Rodney Bruno
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
The Image of Homelessness, captured by Mark Peterson in 1994, shows two perspectives of how people live their lives. In the center of the photograph you see a short, black, rounded fence, no higher than the old, brown bench placed in front of it. On the bench is a temporary shelter made of cardboard boxes, tied down with strings. To the right of the fence is a thin, sick looking tree with trash and dead leaves surrounding the base of the tree. In the bottom left corner of the photo is a box placed under the bench and reads: “Handle with Care,” which is ironic as the living conditions show a complete lack of care. Above the fence, stretching across the top of the photo, the sun shines on the blurred Burger King
Mark Peterson’s 1994 photograph, Image of Homelessness, compares the everyday life of the working class to the forgotten life of the lowest class in society. In the image, the viewer can see a troubled homeless man wrapped in a cocoon of standard manipulated 12in by 12in cardboard boxes and yarn. The yarn is what is keeping the man and box tied to the red bench. This bench has chipped paint and is right in front of a black fence. Underneath the bench is dirt and debris from the dead fall leaves. The center focal point is the homeless man on the bench. He is the focal point because he is the greatest outsider known to man. Behind this man is vibrant life. There is pulsating people crossing the clean street, signs of life from all the advertising on store windows, families walking and blurred cars filled with
... Bohlman, Philip V. Music and the Racial Imagination. University Of Chicago Press, Chicago. 2001. Print.
It’s shown satirically on television, made fun of in music, and joked about in day-to-day activities: being homeless. I don’t understand what’s so funny about being homeless. The struggle to stay alive in an uninviting climate with nothing but the clothes on your back, doesn’t seem very fun. Yet in the media, being homeless is still treated like a joke. In the essay “Homeless” by Anna Quindlen, the reader is shown what it truly means to be without a home. My view on the struggles that homeless people have to endure is very similar to that of Quindlen’s in her essay, which perfectly captured the reality of what it is like to be without a home, and what it truly means to be homeless; while simultaneously demonstrating to me the negative effect
America is believed to be "The Land of Opportunities,", but how can that be true when our own citizens are struggling with keeping the "American Dream" from turning into a nightmare? There is a problem with the availability of opportunities to better the lives of Americans across the nation. "In America the newly developing caste system appears to encompass more than just income inequality, it encompasses inequality in opportunity, in life expectancy, in happiness and in all other aspects of life itself." The transient community is homeless not hopeless, they are valuable members of society but they are never given the chance to prove it. If they live in the "land of opportunity" why are they not given one?
In the word homeless there are two root words, home and less. Home is what most people would define as the place where they live, or grew up. Less, simply means not as much as. When you combine the two together homeless equals someone who grew up in a home that was held to less standards than what they would normally be held up to. For example, someone who is homeless could live in a box, it sounds terrible but unfortunately it is a part of our reality. Not everyone can afford to live in a house, pay mortgage, and all the other expenses that come with the responsibility of owning a house, or home. Today homelessness still has an affect on many people.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans. First is about the effect of slave music on American history and African American music. The slave music’s
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
...econd African Writers Conference, Stockholm, 1986. Ed. Kirsten Holst Petersen. Upsala: Scandinavian Institute of African Studies, 1998. 173-202.