Musicality, the Musician, Social Function and Social Behavior

Week 7

Musicality and the Musician

n  A broad area of study has developed since the 1950s known as `the biology of music making’ that includes such things as brain information processing, perception of music, cognition, music and emotion, music therapy, as well as questions on the nature of musicality.

n  Some cognitive psychologists are concerned with music cognition – e.g. John Sloboda’s work

n  This work has been of large import to ethnomusicologists working on musicality in other cultures.

John Blacking and Venda Children Songs

n  In his work in the 1950s and 60s he questioned the assumption that professional musicians were necessarily always good at music.

n  He felt that musicality has to be understood in culturally specific terms.

n  Musicality among the Venda was universal and all humans were deemed capable of music and dance performance, though some were better than others.

n  Common goal of performers and listeners was `to intensify musical experiences by rhythmic variations, contrapuntal extensions of the basic melody of a song, thickening, and in some cases the addition of words’.

Tshichona

Venda Professionals

n  The few semi-professionals were celebrated for the invention and development of words within songs. They had gone beyond the communal to specialise in forms of music making which `involved little of the musical features of communal music’.

n  Often music specialists or holders of musical offices were there because of gender and social status. Also the idea of vocation and spirit possession was often vital.

Musicality and the musician

n  Ideas of musicality and musician as an occupational category is not universal but seen as social products.

n  He attacked idea that society could or should be divided into musicians/non-musicians.

n  Instead his thoughts were that music was far too basic to human existence – seminal theme of primacy of human musicality brought home in his book How Musical is Man

Blacking’s summary of ideas on musical ability

n  1. Acquired independently of human biology – learnt within a society.

n  Genetically inherited – musicians are born with a gift.

n  Genetically inherited but in the same way as the biological potentialities necessary for speech. All programmed to be musical but social or cultural inhibition may stop us developing to capacity.

Hereditary Musicians

n  In many societies there are hereditary castes of musicians who tend to be the professionals. Often reviled and of low status (barbers, actors, prostitutes, outcastes).

n  Amateurs (often self taught) do sometimes make it into professional status – but stress love of vocation and do not wish to be tainted by association with professional caste.

n  Examples particularly in African and Asian societies.

Master/Apprenticed System

n  Was the system in the west from the Medieval to the 18th century when the academy idea took root. The idea of master/teacher/guru who is slavishly followed in everything is still around.

n  Asian/Indonesian systems still based on this idea. In Hindustani Klasik music learning under the traditional ustad/shagerd system was of great importance. This involved the string-tying (gorbadi) ceremony and sufi ideas of a master/apprentice relationship.

John Sloboda’s ideas.

n  He challenges the ideas that there are basic genetic differences in musicality between western and non-western peoples where musicality is a given.

n  Research on Cheetham’s schools showed that early life experiences and parental involvement where crucial.

n  He challenged the folk view that only some are born musical and believes that all are musical but that experience is the important factor – though biological differences play a part as with all other skills.

n  Believes that expression is not innate but learnt.

Musical Enculturation

n  Aspects of learning experience by which initially or in later life, man achieves competence in his own culture. Goes on throughout life. Ones culture is learnt and aquired it is not innate. Music is often the primary means of learning ones culture.

Merriam’s ideas on Enculturation n  Ch 8 of The Anthropology of Music. Identifies

three aspects. n  1. Socialisation – social learning in early years. by immiation n  2. Education – Directed learning both formal

and informal n  3. Schooling - specific times and places outside

the home by professionals. Bush schools, apprenticeships, academies

- Idea that music can be learnt even before birth. - Merriam’s scheme for music education.

Social Function

n  Idea that society is a like a biological organism. Activities of individuals can be seen as playing a part in the greater organism.

n  Leads on to ideas of structuralism. That a society can be analysed in terms of structure though observation of rites and patterns of behavior.

Merriam’s ideas on Function

n  Distinction between Uses and Functions. Use refers to customs, rites of passage, what can be observed. (folk view). Function is what music does. May not be expressed or even understood by those involved (folk view). But can be seen when whole picture is analysed.

Merriam’s 10 Functions n  1. Aesthetic enjoyment. Both for creator and contemplator n  2. Entertainment. In all societies n  3. Communication. Of something but what, how and to whom is

often undecided. n  4. Symbolic representation. Of other things, ideas, behaviors. n  5. Physical response. Channels behavior. n  6. Emotional response. n  7. Enforcing conformity to social norms. Songs of social control. n  8. Validating social institutions and religious rituals. To preserve

order and co-ordinate ceremonial symbols. n  9. Contributing to the continuity and stability of culture. n  10. Integration of society. n  But can reduced down to functions of release and solidarity in a

society

Blacking’s Tshichona – musical structure reflecting the social structure.

n  Music symbolic of size of following. Integrative function. Sound is representative of numbers.

n  Danced on all important occasions. n  Relates to structure of society directly. n  Each person had one pipe in a melodic

hierarchy. Teams part of the following of tribal leaders who sponsored them.

n  A great deal of practice was required and complexity and size and organisation of each team is reflected directly in the music.

Musicality

n  Is culturally specific. n  Is an established part of ‘ethnomusicality’ n  Connects with ‘esthetics’. n  Is it learnt or a given? n  Not always to do with technical

excellence. Sometimes at variance.