Impact Of Orientalism In Western Music

The classical music of India has gained most of the attention of outsiders probably due to the colonization era that has brought Indo-European invaders (Aryan Civilization) into their territory between 2000 and 1500 BCE due to the presence of rich resources. However, Indian music, unlike the communal music of Africa and Southeast Asia, is individual and often virtuosic and can be both vocal and instrumental. The Hindustani one (North) is more appealing to the Western society as it is more instrumental based, whereas the Carnatic (south) one is more vocally oriented. Another factor that attracts the Western attention

1. How is the history of European and Arabic cultural contact reveal through musical characteristics in places such as Spain and Bulgaria?

The adoption of Western music inspired new ways of viewing music and resulted in a transformation of Chinese music. It prompted “Chinese composers to either fuse Western music with traditional sounds or turn their back on traditional Chinese music [because they Westernized] their music modeled on the perceptions that Western music equates with modernization” (Lau 90). Additionally, because many traditionalists feared that traditional Chinese music would gradually disappear due to the modernizing Western music, “they began to focus on promoting Chinese music as a way to counteract the encroachment of Western culture and music. But they did it in a 'modernist' rather than preservationist sort of way. Many musicians experimented with new ways of composing music and modernizing traditional instruments” (Lau 92).

In the late 2004, a series of papers (research project) on the topic of world music and globalisation became a hot topic in a conference and gradually took on a life turning onto a virtual laboratory for teaching and research on the relationship between music and globalisation under ethnography which was funded by the Canadian Social Sciences and humanities Research Council from 2003-2006. Since then this topic has got wide meaning and more complicated.

Also, its past is well recognized, whatever has remained deserted up to today is the psychological inspection of the association among this technique of prevalent philosophy plus a significant mental, common and historical matters and circumstances which provided intensification towards it and is expressed by it. One major reason folk was special in the African American culture is because it’s a likeness of the distinct southern culture, past and social organization on the instruction and of confidences, doubts, politics also arrogances displayed by the people on the early stages of segregation. The composition of the African, English and Scottish mixed rapidly and effortlessly in the similar progression through groups mixed demographically and socially to form the essential culture. The composition from Germany and France modified justly with the folk custom. It seems that certain musical methods such as polkas from Europe, the melodies of the Hindu, Arabic and French settlers, practiced the same affiliation to the pleasing music essential all of the settlers practiced with regard to the essential philosophy; an assortment based on choice.

African influence is evident in African secular and religious practices, in instruments modeled after African instruments, and in the use of musical traits associated with Africa’s ethnic groups.

The term “classical music” refers to the western influence, not the eastern influence of Asia; the two are very different

In this essay, I will be examining the musical genre of Afrobeat which was created by Fela Anikulapo Kuti. Afrobeat first came to be in the late 1960’s during the Civil Rights Movement in America. Fela Kuti a Nigerian, was able to create a genre that has change the way we view music today. Afrobeat is made up of two different words, “Afro” and “Beat”. “Afro” correlates with “African organized sound while beat is a rhythmic counting pattern in relation to such music” (Oikelome, 2013). Therefore, the meaning of Afrobeat is the unique African rhythmic patterns of such music. The coming of this genre is very interesting since the man behind it has quite a story.

As ahead of schedule as the seventeenth century , Arab artists and arrangers started to present the European violin in Arabic music outfits to go with the rababa.Numerous artists and musicologists from everywhere throughout the Arab world and in addition from Turkey, Persia and Western Europe met here surprisingly to consider in point of interest the subject of Arabic music and take part in intercultural dialogue and exchange.In established Arabic music hypothesis, the maqam shows the pitch of an Arabic scale, equivalent with the antiquated religious modes in European music, in spite of the fact that the individual movements in tone can, as specified above, be littler than a semitone.Classical European music was composed down in notes, which right up 'til today is not the situation for traditional Arabic music, as the same maqam is constantly ad libbed and performed in an alternate way.The experience with Western music Classical Arabic music was supported and passed on for quite a long time in Persian society and in the Arab and Ottoman Islamic empires.There are not really any artists who have hence gotten to be acclaimed who have not experienced the hard educating of Koran recitation; for the musically regulated execution of the suras is a piece of the social legacy of traditional Arabic music.Nonetheless, writers were cheerful to incorporate Western harmonies and Western instruments, for example, the violin, cello, and twofold bass, in their collection, and

The World Music Movement (from 1975/80). Following the diaspora of the Sephardic Holocaust, the subsequent projection of ethnic music into the world market was successfully achieved via this seemingly cosmopolitan trend, featuring the Turkish group Sefarad as its crowning jewel and reaching a major peak in 1992 (five hundred years after the Jews left Spain). Much in the vein of the Folk Revival, but in a somewhat accentuated fashion, the musical items of this period (the cd, the advertisement vehicle, the flyer) established connections between the longing for a lost past and the excitement of contemporary mass consumption as crowdy performance. This stage entails, to put it bluntly, the coopting of early and folk music into mainstream music styles of mass consumption, such as pop-rock (Aroeste’s En el Café), heavy-metal (Extremo’s Cuando el Rey Nimrod) and jazz (Caroline Lynne-Bayne’s Partos Trocados), thus situating itself at the cross roads between ethnic authenticity and commercial salability (and at some point between the essentialist and the anti-essentialist ends of the musico-socio-ontological spectrum). Crucial experiential tropes are collectively evoked in world tours by a plethora of techniques, as in Yasmine Levy’s singing-back-and-repeating-out-loud famous contrapunteo in Adio’ Kerida (Goodbye my Dear Love, 2007 [1853]) performed in Jerusalem, Madrid or Istambul: “Adio Adio querida No quero la vida Me la amargastes tu” (“Bye, bye my dear, I no longer want

The purpose of this paper is to simply explore the world music aspects of the song “Jai-Ho” a piece that combines music styles from around the world containing Western and non-Western musical aspects. The reason I chose this song as my topic is because it is a popular song in America although it does contain many different cultural influences. Growing up I have been exposed to Rap, R&B, and Pop music, sometimes even a combination of all three. This music is what I prefer the most out of the vast majority of labels given to describe songs’ musical aspects. About seven years ago, I remember hearing the song “Jai-Ho” coming from the speakers of my television as my dad watched the movie “Slum Dog Millionaire” I remember the fast pace rhythm, the

Orientalism has been part of western arts for a long time. Orientalism in Music occurred since the late Renaissance. This can be seen by a widely performed dance during that period, called the Moresca, which was associated with the Moors of North Africa and was often performed with dark skin makeup and with

Music plays a significant rule in our lives. It’s a melody and rhythm we live in. It plays a very essential rule in our day to day to life when it comes to expressing feelings, passing time and for other uses as well. Though we in general may not think about how music has changed so much in the past few decades we must acknowledge the fact todays music is the outcome of the various change in the past. Today’s majority of music we hear is what we define as more as a “westernized” music. Considering other cultures in the world, a huge impact of western music is seen within them. Westernization and modernization are two different words with different meanings and they have two different impacts on a society. Modernization is used to define the improvements and show a progressive transition from one stage to another. Westernization is the concept of being influenced by the customs and techniques of the western society and reflecting them in a non-western culture. This essay will discuss furtherly about the impact of the western society on music cultures of North India and Korea by looking from both the positive and negative point of this impact.

China has long been the cultural hub of Asia, and has had the longest amount of contact of any Asian country with other Western countries. Ever since the Silk Road was established, China has been trading with other Western countries and exchanging aspects of their cultures with one another. One of these aspects is music. But how exactly has Western music influenced Chinese music? In order to understand this, we must look at the history of Western encounters with China in terms of music.

There is an assumption that, “K-pop adopted the style of Western boy/girl bands, means I-pop adopted Western style as well.” (Andriana .Y.F., Darmawan .R., Haldani. A., 2013, p. 7). That is true because as a center of globalization and popular culture for long times, it is common if later Western style still becomes an inspiration even for K-pop groups which is labeled as the new center of globalization. However, K-pop groups show their own characteristic, which is different from the West, in terms of performance and the language they use for their songs, which have been explained in the previous parts in this research.