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XI. NONWESTERN MUSIC
MUSIC IN NONWESTERN CULTURES
Objectives
While nonwestern music reflects the diversity of the world’s social and economic systems, languages,
religions, and geographical conditions, there are some features common to most musical traditions. These
factors are discussed, as is the influence of Asian and African music on modern composers and
performers. A distinction is drawn between the written tradition of European cultures and the oral
tradition of nonwestern music, followed by discussions of improvisational traditions and vocal
techniques. The various instrumental classifications are described, and regional factors discussed. The
importance of melody, rhythm, and texture in contrast to harmony and polyphony is discussed, and the
section ends with a brief discussion on the interaction between nonwestern and western music.
Suggestions
1. Ethnomusicology is a relatively recent marketable field, and new recordings of nonwestern
music appear continually. In addition, the many varied selections available from Folkways (available
from the Library of Congress) and Nonesuch should prove to be very helpful in demonstrating the wide
variety of nonwestern music. Just playing portions for the sake of new experiences may be sufficient for
some classes, but for others you may wish to ask the students to comment on scale types, tonality,
melodic shape, or any of the elements discussed in Part I (Elements) of the text. As suggested in that
earlier unit, you might wish to compare an African vocal excerpt with a Japanese work, and then both to
traditional western practices.
2. The text concentrates on only three traditions, sub-Saharan Africa, the classical music of India,
and the koto music of Japan. Have students research the musics of other cultures, such as the Middle East,
India, China, southeast Asia, Inuit, and Native American. Have them choose one culture and report on its
musical tradition, selecting two or three representative pieces (preferably recordings). The students’
reports can be used to broaden the scope of the discussions, and to increase awareness of nonwestern
music. You may want to encourage, without pressure, students who come from nonwestern cultures to
share their experiences.
3. It would be good to bring in a selection of nonwestern instruments to demonstrate for students
(if your school has an ethnomusicology department, try to have a professor or student give a
demonstration). Students could choose a specific instrumental type and trace it through several cultures
(guitarists exploring nonwestern plucked string instruments such as the p’i p’a, shamisen, etc.). If you are
not able to arrange a live demonstration, choose some instruments from the list below and bring in
pictures and recordings of them.
Questions and Topics
1. Contrast the methods by which western and nonwestern musics are transmitted.
2. Describe some instrument types used in nonwestern music.
3. Describe some vocal techniques used in nonwestern music.
4. The influence of Islamic music on the development of north African music.
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MUSIC IN SUB-SAHARAN AFRICA
Objectives
Dividing the African continent into two large geographical areas, this section focuses on the music of the
countries below the Sahara Desert. The place of music in society, permeating virtually all aspects of
African life, is briefly discussed. Some of the more important instrument types and ensembles are
described, including the mbira and “talking drums,” and African texture, vocal techniques, and
performance practices. Discussions of a call-and-response song from Ghana and a dance song from
Tanzania conclude the section.
Suggestions
1. The text states “music permeates virtually every aspect of African life.” You may wish to take
a few moments to discuss the use of music in our own society, and see if it is not also so permeated. The
use of music for ceremonies such as graduations and to welcome visiting dignitaries, for rousing
enthusiasm at sports events, to stimulate the spending of money in stores, to promote intoxication or
seduction in dimly lit bars, family and religious holidays; in short, virtually everything we do involves
music. How then are the African peoples so different from ourselves?
2. As with any music, seeing and hearing a live performance far surpasses any discussion. There
may be a local group or student club willing to perform and demonstrate in class, whose performance can
be attended by the class, or a class demonstration by one of the performers followed by attendance at the
full performance. If that is not possible, you might be able to find some authentic instruments at a local
museum.
3. The recordings contain the two examples discussed in the text: Ompeh, and Mitamba Yalagala
Kumchuzi. Additional examples may be found in the Folkways catalog, or the recommended anthology
Africa South of the Sahara.
Questions and Topics
1. Describe the use of music in sub-Saharan societies.
2. Describe the importance of drums in African societies.
3. Describe the basic construction of the mbira.
4. Vocal techniques used in sub-Saharan Africa.
5. The human body as a percussion instrument.
6. The relationship of “talking drums” to “tone languages.”
CLASSICAL MUSIC OF INDIA
Objectives
A brief survey of music and musicians in India is followed by a discussion of the elements of Indian
classical music. The melodic and rhythmic structures (ragas and talas) are described, with examples of
each. The most typical Indian instruments are described, and illustrations of the sitar, tabla, and tambura
are included. The section ends with a discussion of Ravi Shankar’s Maru-Bihag.
Suggestions
1. As mentioned in the previous section, you may wish to investigate the possibility of a live
performance in your area, and the availability of instruments in a local museum or musical instrument
collection.
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2. An example of Indian music, Ravi Shankar’s Maru-Bihag, is included in the recordings. After
discussing the various aspects of raga and tala as given in the text, play Shankar’s spoken introduction to
the recording in which he discusses the work to be performed. Help the students recognize the entrance of
the tabla following the alap and quietly reinforce the tala until the students have the feeling.
3. In the Performance Perspective there is reference to Ravi Shankar’s influence on Beatles
guitarist George Harrison. After meeting Shankar in 1966 Harrison incorporated the sounds of Indian
music into some of his own songs. Perhaps listening to his song Love You To from the album Revolver
might provide some interesting response and discussion.
4. John McLaughlin was a pioneer in introducing Indian music into Jazz Fusion in the early
1970’s. Listen to Birds of Fire recorded by John McLaughlin and the Mahavishnu Orchestra and discuss
the style.
Questions and Topics
1. Explain the concept of raga in Indian music.
2. Explain the concept of tala in Indian music.
3. Explain the importance of improvisation in Indian music.
4. Discuss music education in India.
5. Ravi Shankar and the spread of Indian music in the west.
6. The “musical trinity” of India.
KOTO MUSIC OF JAPAN
Objectives
The music of Japan is represented by focusing on the koto: its performance techniques, its origins, and
two of its tuning systems. Some basic forms of koto music, whether for solo, duet, vocal accompaniment,
or in combination with the shakuhachi and shamisen, are described. A duet for two kotos, Godan-Ginuta,
is discussed as a representative example of the classical music of Japan.
Suggestions
1. Once again a live performance on authentic instruments or a visit to a local museum or musical
instrument collection is encouraged.
2. The text discusses Mitsuzaki Kengyō’s Godan-Ginuta. After explaining the instruments and
techniques involved, the meaning of “kengyō” as a rank bestowed on masters, and some historical details
of koto playing, play the recording. Ask the students to describe the various musical elements and
timbres, comparing them to western traditions, but remembering which came first.
3. Mention has already been made of traditional Japanese instruments being used in performances
of western music, such as the Bach transcriptions for koto, shakuhachi, guitar, bass and drums. Another
example is the New Koto Ensemble of Tokyo’s recording of Mozart’s Symphony no. 40 in G minor, and
Eine Kleine Nachtmusik performed on eight kotos.
Questions and Topics
1. Discuss the two most common systems of koto tuning.
2. Describe the method of playing koto.
3. The origins of the koto.
4. The koto ensemble.
5. The use of music in the Japanese theater.
6. The shakuhachi and the shamisen.
7. Taiko drumming, and the suwa daiko tradition.