World Music

MUS 2433 Writing Assignment:  Critical Analysis of "World Music" Recording Accept either Affair A or Affair B.  • Suggested length: 3 pages or 600 words.  • Final Paper Due in Module 5  • Completion Time: Final abstract – 4 hours.   Topic A:  A defining affection of "world music," "world beat," or "ethno-pop," as it has abnormally been called, is the assembly of recordings by acclaimed American and European pop musicians that accommodate acceptable musicians from alternative cultures assuming in a back role, or that alarm absorption to themselves by the use of agreeable exotica extracted from acceptable cultures. Such recordings advance a ambit of issues and questions that allure appraisal and debate. Some of these are listed below:  1. How do a recording's agreeable arrangements, title, graphics, and accompanying addendum represent the accord amid Western advance musicians and accommodating acceptable musicians?  2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits advance about rights to, and buying of, the music?   3. Are the agreeable and claimed relationships adjourned through the assembly of the anthology accordant with behavior about rights to, and buying of, music in the alien attitude represented on the recording?  4. Does the advance artisan appearance agreeable annual for the alien tradition(s) represented on the recording? What is "musical respect" and how ability it be apparent or not shown? 5. Do artists who apply acceptable musicians accept obligations not alone to the musicians but to the political entities or cultural traditions that they represent? What factors would actuate whether they do or do not?   6. Should acceptable musicians be active in the backer ability of accident that is an inherent allotment of the almanac business? That is, should acceptable musicians get  Page 2 of 5 a anchored "session" fee for accommodating in a recording, or should they be paid royalties based on sales?  7. Are cross-cultural "world music" and "world beat" projects inherently adept and exploitative?  The Assignment:  Choose either a recording from the absorbed annual or a recording not on the annual that meets the belief of "a cross-cultural admixture in which Western musicians assignment with artists or agreeable actual from traditions altered than their own." If you accept a recording not on the list, amuse let me apperceive what it is afore you activate your work.   Write a analytical analysis of the recording in which you do the following:   1. Offer a abridged description of the agreeable and artful abstraction abaft the recording, or acknowledgment the question, "What did the artists or producers set out to do?"  2. Altercate the way in which "roots" music is congenital into the agreeable sound.   3. Altercate musical, aesthetics, and ethical issues that the recording raises, demography into annual the annual provided above. Think about the accord amid aesthetics (what is beauty?) and belief (what is good?). You are acceptable to accede issues on the annual provided aloft as able-bodied as issues not on the list. 4. Offer your analytical acumen about means in which the activity succeeds or fails as music and as an exercise in developing cross-cultural compassionate and relationships.                                                                                                          Topic A: Suggested Recordings:  • Paul Simon, "The Accent of the Saints" (with Latin American musicians).            • David Byrne, "Rei Momo" (with Latin American musicians)  • Peter Gabriel, "Passion" (created for the soundtrack to "The Last Temptation of Christ" based on Middle Eastern Music); (may altercate calm with Gabriel's "Passion Sources")    • Kate Bush, "The Sensual World" (with Bulgarian women)                                     • Mickey Hart, "Planet Drum" and "At the Edge" ("world percussion")                                                         • Paul Winter, "Earthbeat" (jazz and Russian apple music)                                    • Outback: "Dance the Devil Away" and "Baka" (Aboriginal music accumulated with folk guitar)  • "Spirit of the Forest" (Baka Beyond) jam sessions with Baka Pygmies and composer/guitarist Martin Cradick  • Linda Ronstadt, "Canciones de mi padre" (with Mexican and Mexican-American musicians) Page 3 of 5  • Talking Heads, "Reamin in Light" (appropriation of scratch, funk, Afro-Beat and jùjú rhythm)  • "A World out of Time" Vols. 1 and 2 (Pop/avant-garde guitarists Henry Kaiser and David Lindley accompany musicians in Madagascar)  • "Talking Timbuktu" (Guitarist Ry Cooder grooves with griots from the Sahara)  • Robbie Robertson and the Red Road Ensemble, "Music for the Built-in Americans"  • "The Sweet Sunny North" (avant-garde musicians Henry Kaiser and David Lindley jam with acceptable musicians in Norway)  • Paul Simon, "Graceland"  • Robert Plant and Jimmy Page, "No Quarter." (collaboration with musicians from Egypt)  Topic B:  The mirror angel of the "world music" abnormality declared in Affair A is the allotment of Western agreeable instruments, sounds, structures, and styles by musicians whose cultural origins are alfresco the West. Recording by such musicians -- additionally frequently referred to generically as "world beat," "ethno pop," or "world pop" -- accession issues that are the antipode of those listed beneath affair A. For example:  1. Do musicians from non-Western cultures tend to advertise their own agreeable traditions abbreviate back they absorb these traditions with Western styles and techniques, usually in a pop or applesauce groove?  2. Can music abide "traditional" while accumulation elements of Western agreeable modernity? What are the belief for allocation as "traditional" music?  3. Does the bartering success of admixture recordings tend to attenuate the cultural ascendancy of added acceptable musicians in the non-Western countries from which these projects emerge?  4. Do these projects tend to aftermath music that wears able-bodied with time, or does the music arise in hindsight to accept been slapped calm bound as a acknowledgment to the music industry's ache for fads and novelty?  5. Even admitting built-in musicians are evidently in ascendancy of the projects, do they consistently end up actuality exploited by the ball business? (i.e., recruited, recorded, and alone as anon as they abort to accommodated business goals).  The Assignment:  Choose a recording from the absorbed annual or a recording not on the annual that meets the afterward belief (if the recording you accept is not on the list, amuse let me apperceive what it is): Page 4 of 5 • The featured artisan is either from alfresco the United States or has agreeable roots in a appearance or repertory alfresco boilerplate American music (e.g., jazz, blues, pop, Anglo folk). • The recording merges elements of acceptable indigenous music with added boilerplate agreeable styles and structures. Write a analytical analysis of the recording in which you:  1. Offer a abridged description of the agreeable activity presented on the recording.   2. Explain how the assets of Western agreeable traditions (e.g., instruments, styles, textures, cultural references, recording techniques) are alloyed with those of the featured non-Western tradition(s).  3. Altercate musical, aesthetic, and ethical issues that the recording raises, demography into annual the annual provided above.  4. Offer your analytical acumen about means in which the activity succeeds or fails as music and as an exercise in developing cross-cultural compassionate and relationships.  Topic B: Suggested Recordings:  • The Ravi Shankar Project: Tana Mara (a admixture of Indian raga, the technology of synthesizers and agenda sampling keyboards, and Western accepted music. Vocalists accommodate George Harrison)  • Sheila Chandra (a admixture amid Indian classical and blur music and English pop)  • Ofra Haza: "Kirya" and "Fifty Gates of Wisdom" (Yemenite Jewish songs performed in a pop style)  • R. Carlos Nakai: "Feather, Stone & Light" (New Age Built-in American music featuring flutist R. Carlos Nakai, guitar amateur William Easton, and percussionist Will Clipman)  • King Sunny Ade and his African Beats: "Juju Music" and "The Return of the Juju King" ("Afro-Pop")  • Ebenezer Obey: "Get Yer Jujus Out" ("Afro-Pop") • Baaba Maal "Firin' in Fouta" ("Afro-Pop")  • Yat Kha, "Yenisei Punk" (Tuvan "techno-ethnic-acid-folk music")  • Shakti, "The Best of Shakti" with John McLaughlin, Shankar, Zakir Hussain, T.H. Vinayakram (fusion of Indian classical music and jazz)   • Deep Forest, "Boheme" (samplings of music from Transylvania)  • "Deep Forest" (samplings of pygmy music)  • "Dead Man Walking" soundtrack album: cuts by Nusrat Fateh Ali Khan with Eddie Vedder [see me for antecedent recordings of Nusrat Fateh Ali Khan] Page 5 of 5  • The Bulgarian Voices "Angelite" Featuring Huun-Huur-Tu and Sergei Starostin, "Fly, Fly My Sadness" (Bulgarian changeable choir joins armament with Tuvan association singers)  • "Planet Soup: A Stirring Collection of Cross-Cultural Collaborations and Agreeable Hybrids" [3 CDs] (from the liner notes: "Three hours of acute all-around music created by over 200 musicians in over 35 countries)

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