Draft- Final assignment

Written by Keiki Maynard

Task- Evaluate to what extent you agree with this statement:

“Music and musical instruments reflect cultural aspects of a society and play an
important role as they can save lives, provide relief from difficult circumstances
and, express and communicate social/political ideologies and principles”.
Reference at least two of the related references and examples we have studied.

Ethnomusicology is defined as the “study of music in its social and cultural

contexts” (1) and is an entire entity dedicated to researching the cultural aspects
of society, embodied through music. I agree with the statement to some extent
and will be discussing this further in my essay, I will be drawing upon relevant
research proving that in some circumstances, societies and people have
optimised music to provide relief from difficult circumstances as well as
communicate ideas and save lives. It is thought by some ethnomusicologists that
the reason music is able to do this is because of the abstract and creative
features of music, and its accessible essence. Unlike many other structures in
society, music is renowned for being socially binding and a uniting passion
among people. A primary example of this is “A tale of survival in Cambodia”
(3) written by Lafreniere, Bree and Daran Kravanh. The story of a young man in
Cambodia, during the war, is a prolific recount of how music can save lives and
provide a commentary on politics.

The young boy once found an accordion amongst the trees in a deserted forest
and dared to play it. Surprised when a soldier appeared, the boy was asked if he
knew how to play the instrument. Contextually, this would have been a
frightening experience for the local child, as Cambodian people were
horrifically mistreated by army officials during the war. But he was “Starved of
music” and loved the instrument, so the young musician played “communist
songs” for the soldier. Over time the two men forged a friendship, whereby the
man provided the malnourished boy with canned foods, in exchange for his
music. Eventually, the soldier gifted the treasured accordion to the boy.
Furthermore, this nonfictional story is a primary example of the values of the
previous statement I am responding to, this recount proves that music is capable
of saving people’s lives and plays an important role in people’s lives. Moreover,
I agree that playing can provide immense relief in difficult circumstances such
as war as well as change people’s fate.

In addition, academic ethnomusicologists such as John Blacking and Alan P.

Merriam have explored the interdisciplinary field; concluding that societies
have “different ideas about what they regard as music” (2). Meaning that, music
is of an obscure, figureless and unique nature and is an interpretive medium
without prominent bounds. However, this can lead to disagreements regarding
the classification of music, and this is largely due to the opposing ideologies
within various cultures. The given norms and values of human collectives vary
distinctly, and the range of forms within music in specific cultures is
undoubtably influenced by this fact. Consequently, I agree with the statement
further as it is imperative that music reflects culture, Henry Longfellow once
quoted: “Music is the universal language of mankind”. These wise words were
spoken over two hundred years ago and have maintained their relevance thus,
the reason why I am in agreement with the concept of “Music and musical
instruments reflect cultural aspects of a society and play an important role”.

“Music is a product of the behaviour of human groups” (4), John Blacking

wrote about his opinion that music is produced in alignment with the
“behaviour” of people. His research proves that music is a biproduct of our very
existence and that it is not only an expression of culture, but also an expression
of human emotions regarding history. In addition, music is interpretive and
therefore, the wide-ranging genres produced by varying cultures lack
“consensus”. This is because they focus on an array of topics; Blacking writes
about differing collectives having “different ideas about what they regard as
music” (4). This is due to a variety of reasons such as: the varying resources
available to human groups, the fact that not all cultures share the same
experiences and that we are all individuals with unique circumstances. In
conclusion, I agree that “no consensus can exist” within the defining of music
because of my previous statement- music is interpretive. Of course, there are
exceptions, music is a distinct medium that in some cases can transcend
language. Piano, for example, is a universally spoken instrument that can unite
people of different cultures or languages. Nonetheless, this proves that music
reflect culture.

Throughout time, music has been a form of communication and is “symbolic”

and representative of the “organisation of society”. Alan P. Merriam is an
ethnomusicologist, who discussed the meaning of music at great length.
Merriam is of the opinion that in reality music is down to an individual’s own
perception. This respected researcher once quoted: “the concept of what music
is or is not, distinctively shapes sound” (5). Therefore, in my response to this, I
have concluded an example of this idea. The sounds of ceremonial sun dances
and striking sticks by the Mississippi river, are not universally considered or
listened to as music in westernised culture. However, they are forms of music in
minority cultures such as the Indigenous peoples of the Eastern Woodlands.
Consequently, this proves that music is a product of our own individually
developed perspective, rather than something quantifiable or factual.
In spite of this, nature is still an embedded theme within modernised music,
falling under the category of ‘Environmentalism music’. Specifically, in the last
sixty years, the uprising of activism, focussed on climate change and the
appreciation of nature, has sparked a desire among people to prevent of further
pollution. In response to this, a cultural trend has developed in the genre of
popular music. The interlinked themes of nature and music have been studied in
detail by Eco musicologists, such as Aron Allen S for example (6). An example
of this newly westernised theme is a song produced by a notable musical icon,
Michael Jackson. He released the “Earth Song” in 1995, his intention was to
shed light on animal welfare and the relevance of environmentalism, supporting
the Heal the world foundation. Additionally, the eco conscious aspect of
western society has produced the likes of environmentally advocating musical
concerts- such as Live Earth. While many people do not consider the sun or
river a source of music in modernised society, we do share a commonality with
the tribes in South America, in that we appreciate and value our environments
and express this through music.

Music is often specific to relevant issues musicians are facing and logically this
is a recurring theme that applies to cultures from around the world. Music is an
outlet, and it is often found that what is topical for creators, is reproduced and
discussed through sound. This results in music that is not only product of
culture, but also a result of history. For instance, Bulgarian music that was
produced by women often featured imagery of “snakes or dragons and phallic
symbols” and this was studied by Timothy Rice (7). This is a direct result of the
cultural oppression women often endured from men and the norms of values
within their given society. The music was “emblematic of the girl’s fear of their
unknow fate at the hands of their future husbands” (7). The ideology that
women should be housewives and obedient, is a norm in Bulgarian culture.
Consequently, women began singing about the struggles they faced, and this
music reflects the hardship and principles of their society. But it appears that in
Bulgaria, musicality was viewed as a male principle and therefore, music was a
gendered activity to the extent that women were “discouraged from the activity”
(7). Women were not given the opportunity to sing or play the flute for
example, as they were busy learning homemaking skills such as sewing.

Furthermore, the music produced by these women in Bulgaria is a bi product of

their circumstance, but it does not solve their lack of rights or feeling of fear.
This music they produce is merely a coping mechanism and form of
expressionism discussing the gender system they endure. However, not all
women suffer the same hardships as Bulgarian women did due to their societies
culture. But much like the environmentalist music and indigenous sun dance
songs, the themes do appear in both this minority and popular music. There is
an undeniable correlation in the thematical music being produced by musicians
from various places in the world. What makes the Bulgarian music, sung by
oppressed girls, unique is the fact it is tailored to their own experiences and
given subculture. Therefore, it reflects the hardship they face and the fact these
women found comfort and relief from their difficult circumstance through
music.

While music is typically associated with being emotive, in some cultures

singing is optimised as a method of celebration and is closely related to
weddings. Jane C. Sugarman (8) studied “Singing and subjectivity at Prespa
Albanian weddings”, gaining an understanding of the musical conventions of
Albanian weddings. For example, music is socially considered as being
primarily “reserved for weddings” in Albanian settings and is a literal social
activity. This is unlike many other European countries and societies, where
music accompanies everyday activities when accomplishing household tasks.
While singing is often a product of religion, for instance singing at Church or at
Christmas, it is uncommon at weddings in the United Kingdom. Music is indeed
a feature of wedding celebrations, however communication through the guests/
hosts singing, is a tradition specific to Albanian culture. Music is a feature at
weddings in Britain but in Albania this is taken to the extreme as Sugarman
concluded that “conversation does indeed take place throughout wedding
celebrations, hosts and guest interact much of the time through singing…” (7).
This example of music is a prime example of how communication can occur
through sound, as referenced in the statement.

In conclusion, I agree with the statement for a cascading list of reasons. I am of

the opinion that music is an important and influential medium, therefore I
support the statement to a great extent. My feelings on this subject have been
influenced by an amalgamation of evidence and the resources/research I have
used to support my conclusion all of which support the idea that music “reflects
cultural aspects of a society and play an important role as they can save lives,
provide relief from difficult circumstances and, express and communicate
social/political ideologies and principles”. This evidence includes a study of
Albanian weddings conducted by Jane C. Sugarman; “A tale of survival in
Cambodia” written by Lafreniere, Bree and Daran Kravanh; Henry
Longfellow’s understanding and belief that “Music is the universal language of
mankind”; John Blacking’s opinion that “Music is a product of the behaviour of
human groups”; Alan P. Merriam’s study of how “the concept of what music is
or is not, distinctively shapes sound” and finally, Timothy Rice’s study of
Bulgarian music produced by oppressed women in the 1990’s. Each of these
references are a miniscule element of the many aspects of music that
communicate one’s culture, experience of hardship and societal principles.
Furthermore, music and musical elements have the ability to “reflect” and also
embody the aspect of the statement.
References:
(1) Article: ‘About Ethnomusicology’.
Sourced from the society of ethnomusicology website:
https://www.ethnomusicology.org/page/AboutEthnomusicol
(2) Writer: John Blacking
Date: 1974
Page number: p.10
(3) Name of extract: “A tale of survival in Cambodia”
Writers: Lafreniere, Bree and Daran Kravanh.
Date: 2000
Page number: p.97
(4) Writer: John Blacking
Date: 1974
Page number: p.10
(5) Writer: Alan P. Merriam
Date: 1964
Page number: p.13
(6) Writer: Aron Allen S
Date: 2017
Book: Current directions in Ecomusicology
Current directions in ecomusicology: music, culture, nature
(7) Writer: Timothy Rice
Date: 1994
Page number: p.123
(8) Writer: Jane C. Sugarman
Date:1997
Page number: 57-58