Music Notes Wk #7 PDF

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Week 7's lecture notes and study material...

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Music Wk #7 Notes Shona People: largest ethnic group, colonized by Britain Mbira Dzavadzimu – Musical Instrument of Zimbabwe Organology: Lamellophone – type of idiophone made by plucking 3:2 Polyrhythm: feels like it shouldn’t fit together but it locks together in the end Ex: Nhemamusasa recording Kushaura: to lead/start, first mbira part Kutsinhira: to intertwine with, second mbira part

Shona Religion: ancestor spirit interacts w/ world, bad events are caused by offended ancestors. Bira ritual: spirit possession ceremony. Journal: 1) Polyphonic texture starts at: 0:53 Polymeter begins as the songs starts. Melody of tripe meter; it has a stepwise sound that remains constant throughout the entire piece, so it has a conjunct melodic motion. The pitch is moderate and neither shrill nor bass. 2) While listening to "Nhemamusasa" I felt calm during the first 60 seconds. Once the second meter was introduced, I began to sway my head to each interval of it. This piece gives me a feeling of traditional music. Towards the end I had a thought that you also dance to this if you wanted, this could either be a slow or fast paced dance. Lastly, I noticed the ending is a little unusual. The melody of the mbira breaks suddenly then a few keys are played then its over. The sounds don’t really fade out as it would in most pieces.

Discussion: Summarize the argument of each of these two articles, and briefly state the evidence each article provides to support its argument. What do Tawengwa and Zindi each think about the "Celebrating Mbira" Google Doodle? What does each author think about how mbira is taught and studied in the US? Do these authors agree or disagree with each other? In the second paragraph, state your opinion regarding these issues. After reading both of these articles, what do you think about how mbira is taught and studied, and what do you think about the Google Doodle? Do you agree with Tawengwa's argument, with Zindi's argument, with both, or with neither? Which article did you find more persuasive, and why? If a non-Shona friend told you they wanted to learn about mbira, what would you advise them to do?

1st article: Tawengwa’s argument is that peoples whose culture are being researched for whatever the reason; rituals or musical practices, should be the gatekeepers of it. In her case she moved to the US to find books and lectures on mbira that were falsely representing what she knew to be true by what she calls “cultural vampires”. Following the Google Doodle, she believes the same thing happened where they were “preyed upon” to share their culture and in turn the researchers or people leading the trip have gained nothing but money. I understand the place she is coming from due to her past experiences. She worries and feels she has to look out for people like her professor and other white epistemologist who are seen as a voice and creating a narrative for such cultures and practices. 2nd article: Zindi’s argument takes a more objective approach. He writes about the controversy around the doodle from both sides including Tawengwa’s article. Many people including the artist involved are happy to see mbira represented on a global level. Zindi goes through the creating process of the doodle and the opinion of those involved. One goes on to state that the Mbira is no longer a sacred instrument, and many are beginning to embrace its history while using it contemporarily. Tawengwa’s argument is that peoples whose culture are being researched for whatever the reason; rituals or musical practices, should be the gatekeepers of it. She recounts for the negative experiences she has overcame after moving to the US and calls outsiders “cultural vampires”. Following the Google Doodle, she believes the artists were preyed upon and robbed of their recognition. Tawengwa notes that the white exploitation of mbira music is in the end helping them to make more money. On the other hand, the second article written by Zindi takes a more objective approach. He writes about the controversy around the doodle from both sides including Tawengwa’s article. Many people including the artists involved are happy to see Mbira represented on a global level. After speaking with many involved one notes that mbira is no longer a sacred instrument. Many musicians are beginning to embrace its history while rewriting how its viewed in society. Though both authors may disagree with each other on

somethings they can agree that as long as the intentions are good then others can explore and research mbira music. I think that the way the mbira was taught and represented at Princeton in Tawengwa’s case is unethical and exactly what no one would want. In past the mbira is seen as sacred, so I understand her frustration of seeing more cases where White people are leading a career based on another culture even after Zimbabwe’s independence. I agree with both arguments, if the person has all the correct knowledge and context while not trying to gatekeep and define things then it’s fine. But at the same time, it’s taking away someone who is Zimbabwean a chance to teach their own culture and heritage. I think the Doodle lived up to its purpose of showcasing to others a music and culture unknown to the rest of the world. Zindi’s article proved some of Tawengwa’s points which made it a bit more persuasive. If someone wanted learn more about mbira I would advise them to research the deep history and the pros and cons of doing so.

Unit 2 Vocab: sub-Saharan Maghrib: Polyrhythm Enculturation Call & response Ewe Agbekor Gankogui Atsimevu Vulolo Vutsotsoe Shona Mbira dzavadzimu – “mbira(voice/notes) of ancestral spirits” Bira/mapira Nhemamusasa Kushaura Kutsinhira Hosho

Lamellophone...