http://www.youtube.com/watch?v=lgklBdphZY0
Piece: Raga Manavati
Artist: S.D. Batish
Country of Origin: India (South)
This piece is a great modern, globalized example of the South Indian Raga. It is mostly monophonic, but there is percussion and strumming on the sitar to add some interesting musical layering. The piece was composed in memory of Pandit Shiv Dayal Batish, a famous person in the Indian classical scene from as early as the 1930s. because of this, the piece incorporates many of his favorite idioms. Although the harmonies are based on a south Indian scale, the composition style is more North Indian influenced, and you can ever hear traces of Western Music within its framework. Very cool stuff
Sunday, April 14, 2013
Sunday, March 17, 2013
Turkish Music
http://www.youtube.com/watch?v=S_3g9kmn5nc
Title: Neva profit
Composer: Buhurîzade Mustafa Efendi
Country of Origin: Turkey
Instrumentation: plucked strings, bowed viol, flute
Buhurîzade Mustafa Efendi is a huge proponent and contributor to Turkish Classical Music. In this piece, the viol and flute play in unison or octave, and the pitches are bent and moved as a form of expression while the plucked strings provide rhythmic presence playing both in consonance with the bowed viol and in response to its melody. The fact that there is no real harmony happening, and that there is frequent pitch bending makes you experience the timbral orchestration of the music to a higher degree. Every time the performers change their timbre for expression, it feels like a form change in the music. The rhythmic energy in particular stuck out to me as the driving force behind the expression. Really cool stuff check it out!
Title: Neva profit
Composer: Buhurîzade Mustafa Efendi
Country of Origin: Turkey
Instrumentation: plucked strings, bowed viol, flute
Buhurîzade Mustafa Efendi is a huge proponent and contributor to Turkish Classical Music. In this piece, the viol and flute play in unison or octave, and the pitches are bent and moved as a form of expression while the plucked strings provide rhythmic presence playing both in consonance with the bowed viol and in response to its melody. The fact that there is no real harmony happening, and that there is frequent pitch bending makes you experience the timbral orchestration of the music to a higher degree. Every time the performers change their timbre for expression, it feels like a form change in the music. The rhythmic energy in particular stuck out to me as the driving force behind the expression. Really cool stuff check it out!
Sunday, March 10, 2013
Australian Aboriginal Music
http://www.youtube.com/watch?v=dFGvNxBqYFI
Australian Aboriginal Music: Song with Didgeridoo
Richard Walley
Australia "Aboriginals"
Didgeridoo
A little change up this week from the traditional prayer music. This sample is certainly in a minimalist vain, and therefor a perfect candidate for meditation, however, it is used for a secular and performance context as its performance practice. The piece was composed and performed by Richard Walley, and uses the Didgeridoo as a pedal tone and puffs of air as a rhythmic device. The whole piece seems to build much like a piece of classical music, to its climax around the golden mean point of 3:00 or so. I was totally blown away but all the different subtleties that could be achieved by one performer, including driving rhythm, overtone production, polyphony, and vocal noises.
Australian Aboriginal Music: Song with Didgeridoo
Richard Walley
Australia "Aboriginals"
Didgeridoo
A little change up this week from the traditional prayer music. This sample is certainly in a minimalist vain, and therefor a perfect candidate for meditation, however, it is used for a secular and performance context as its performance practice. The piece was composed and performed by Richard Walley, and uses the Didgeridoo as a pedal tone and puffs of air as a rhythmic device. The whole piece seems to build much like a piece of classical music, to its climax around the golden mean point of 3:00 or so. I was totally blown away but all the different subtleties that could be achieved by one performer, including driving rhythm, overtone production, polyphony, and vocal noises.
Sunday, March 3, 2013
South Indian Classical Music
http://www.youtube.com/watch?v=WH0z0CxP23g
http://www.youtube.com/watch?v=7CsU7X5g35U
Title
Chakkani Raja
Artist
Sri Madurai Mani Iyer
Cultural:
This is performed as a concert piece in South India, but holds clear correlations with religious ritual music.
Orchestration
Voice, strings
I am starting to get much more in to "Eastern" music. In a lot of ways it uses many of the same conventions that western art music uses: form, minimalism, tone painting ect. This particular piece is interesting because it seems to use a different scalar model than western music. Its use of quarter tones is a true ear bender and worth a listen. It took me a few minutes to get used to Mani Iyer's voice, but after a while i realized how expressive it is.
http://www.youtube.com/watch?v=7CsU7X5g35U
Title
Chakkani Raja
Artist
Sri Madurai Mani Iyer
Cultural:
This is performed as a concert piece in South India, but holds clear correlations with religious ritual music.
Orchestration
Voice, strings
I am starting to get much more in to "Eastern" music. In a lot of ways it uses many of the same conventions that western art music uses: form, minimalism, tone painting ect. This particular piece is interesting because it seems to use a different scalar model than western music. Its use of quarter tones is a true ear bender and worth a listen. It took me a few minutes to get used to Mani Iyer's voice, but after a while i realized how expressive it is.
Sunday, February 24, 2013
Buddhist Monks
http://www.youtube.com/watch?v=wovXWpI7CQs
Ritual Music of Tibetan Buddhism:
1.Ten Tha (Like Clouds).
2.Dham-Chen Choegyal (Kala-Rupa).
3.Neten Chudurk (16 Arahat Prayers).
4.Parchen Truk
PERFORMERS:
Monks of the Dip Tse Chok LIng Monastery
Cultural:
This is music which is performed inside of Buddhist Monasteries for prayer and meditation. The music is extremely repetitive and minimalist in its scope, suggesting its use to aid trance like meditation.
Orchestration:
Voice, Various percussive instruments
I was taken aback by the power of this music. I started listening to it thinking that I would never be able to get through the whole hour, but I soon found myself completely lost in the repetition or the motifs. THe performance is so authentic that you can even hear the acoustics of the Monastery when the percussion is played. This may be an impossible thing to replicate in the classroom, but a video such as this could be used to expose the students to this type of culture. The 4 pieces are also extremely contrasting, which caused me to buck some of my pre-conceived stereotypes about this type of music.
Ritual Music of Tibetan Buddhism:
1.Ten Tha (Like Clouds).
2.Dham-Chen Choegyal (Kala-Rupa).
3.Neten Chudurk (16 Arahat Prayers).
4.Parchen Truk
PERFORMERS:
Monks of the Dip Tse Chok LIng Monastery
Cultural:
This is music which is performed inside of Buddhist Monasteries for prayer and meditation. The music is extremely repetitive and minimalist in its scope, suggesting its use to aid trance like meditation.
Orchestration:
Voice, Various percussive instruments
I was taken aback by the power of this music. I started listening to it thinking that I would never be able to get through the whole hour, but I soon found myself completely lost in the repetition or the motifs. THe performance is so authentic that you can even hear the acoustics of the Monastery when the percussion is played. This may be an impossible thing to replicate in the classroom, but a video such as this could be used to expose the students to this type of culture. The 4 pieces are also extremely contrasting, which caused me to buck some of my pre-conceived stereotypes about this type of music.
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