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Culture
World Music: A
Retrospect Across The Globe
by
Venus Umesh
World Music: Various Connotations
World music is a term that
may refer to the indigenous classical forms of various countries of the
world. It may be said as the term itself talks of the music of the
world. In the past eras it was more seen as the coming together of
different music of different cultures of the ethnic world, mostly in
reference to non-western ethnic music, including modes and scales of the
ethnic root with instruments of ethnic origin like sitar, didgeridoo,
tabla etc. Gradually the face of the world changed with globalization
including mutual trade, business, travel etc. and world music came to be
known as the music of each nook and corner of the world’s cultures and
societies.
Today World music involves
collaboration of artists and their music from all over the globe. The
artists of World music form ensembles and amalgamate native music mainly
from continents as Asia, Europe, America and Africa. This naturally also
involves the native indigenous instruments of the globe as sitar,
violin, tabla, drums, viola, tambourine, gongs, lutes, zither, oboes,
trumpets, clappers, cymbals, flutes, viol etc. World music mainly
absorbs styles of cross-cultural origin.
World music can be viewed as a descriptive word and it describes two
major things:
- A particular kind of
developed music form, from indigenous music of the countries of the
world.
- The distinctive
pattern of its association with a set of values, culture and
behavior, fashion, identities, aspirations, lifestyles, indigenous
changes etc.
Richard Nidel in his book
"World music: The Basics", says that the term refers to
traditional, folk or root music as it is:
- Created and played by
indigenous musicians
- Part of virtually
every culture or society on the planet
- Naturally
incorporating other musical forms
It can be said that world
music involves various forms of music of different cultures that
originate and are inspired by the native traditions and cultures of that
particular region. Nidel also explains that once any folk music is
uprooted from the medium that produced it, it gets transferred to an
artistic production and performance (rather than used in its original
form). Thus it naturally gets altered and transposed into a new shape
and form.
We can say that Indian classical is a part of world music as much as
world music is its part somewhat in the same manner as harmony depends
upon melody and vice versa.
In his book, "Ancient Traditions -Future Possibilities: Rhythmic
Training Through the Traditions of Africa, Bali and India," Matthew
Montfort, the leader of world music ensemble ‘Ancient Future’, coins a
new word ‘world fusion music’ and defines it as music that combines
ideas from many of the earth's traditions.
A world music circle describing the genre
Music Travelling Wide
In the primitive times migration was a part of livelihood and the people
of one culture shifted with specific purpose of earning money to far off
places with different cultures. This resulted into a natural transport
of native indigenous culture and music to foreign places. Further it
mixed with the traditional music of that particular place and attained a
new name. A contemporary example is Bhangra of Punjab which is an
indigenous form of folk tradition of dance that reached the ethnic
landscape of England and has naturally developed its new form of
disco-infected Bhangra and Bhangra pop. Another instance is, Flamenco
music which is perhaps a product of the cross-cultural exchange that
resulted from the Calé people migrating from India to Andalucía.
So many traditions of world ally with each other in some or the other
way. Al Andalous a classical form that is more than 1000 yrs old music
of Morocco in Africa is composed of 24 parts one for each hour of the
day is reminiscent of north Indian music. In modern times just 4 parts
have survived. The children of the Algerian Diaspora developed a music
genre ‘Rai’, which has been derived from the Bedouin folk music of the
Cheikhas. The lyrics are written in Arabic and French and it is
improvisational.
Indian music owes much to Irani and Arabic music. Arabic musician
followed the Greeks in theory of consonance. An important aspect of
Arabian music is ‘Maquam’ that is equivalent to modes of Indian
classical music. Even the rhythm of Arabic melodies is more or less same
to Indian music. On the other hand the names of 12 primary modes if
Iranian music made by Ibn Sina indicate an Arabic origin. Lots of
Persian instruments have been adopted by India. Viol is Indian Sarinda
and Persian Daubal is Indian Mandolin. Indian Veena was used in Persia
with the name Kigira/kinkila.
Egyptian music and theory exercised great influence over Greek music.
The high standards of Egyptian culture have been written in the reports
by Plato and other Greek writers.
Japan owes its culture and music to China. In China the system created
by Huag-Ti still exists as in the Pythagorean cycle of 5th. In the
Turkish music and the music of middle-east various tones and scales are
calculated mostly on the basis of the Pythogarean system and thus differ
from music of West.
Musicians have been exchanging knowledge across national boundaries
since the people and cultures came in contact. In the contemporary sect
of musicians, we find that a deliberate effort to mix, fuse or blend
various styles of music from different native cultures has crept in.
Probably we may find in future a genre of music namely Cross-cultural
music, that is vaguely today Fusion music. All the music sharing is
because of Globalization which is a very old phenomenon but today it
connotes widely. All its wide vistas have triggered off a blend of
national identities evident in contemporary Indian classical music. It
has enabled cultural, social and economic exchanges between the orient
and the occident. Globalization in Indian music definitely enhances
mutual international understanding and communication through networking.
Few Major Works In World Music
There is a growing interest in world music among people but we find very
few books that give information or an overview of world music. The 10
volume ‘Garland Encyclopedia of world music’ is the leading work in the
field. It is an ethno-musicological treatise. Another guide is ‘The
rough guide to world music’ from England is a popular work. Yet another
book is ‘World music: The Basics’ by Richard Nidel, which is a good
reference book for the music of all the countries of the world. One of
the book written by Mathew Montford on a world music genre, World Fusion
music is “Ancient Traditions- Future Possibilities: Rhythmic Training
Through the Traditions of Africa, Bali and India ” that includes Indian,
African, Balinese, Middle Eastern, and South American rhythm, the rich
harmonies of Europe, the peaceful melodies of Asia, and other musical
traditions within a contemporary framework.
England is known to be the leading information centre for world music as
it brought forth the known as well as unknown artists of world music.
Ian Anderson’s magazine froots (Folk Roots) is another important
chronicler of world music artist’s profile, reviews, CDs etc. Simon
Broughton released ‘The rough guide to world music’ in 2000. Another
informative world music bimonthly magazine is ‘Songlines’.
Indian Classical Artists And World Music
Music is an important, significant and profound force of developing
understanding between the cultures around the world. So many artists
from all over the planet are interested in growing their music wide
through world music. In the present music scenario where people are
getting connected globally with each other, the artists are expanding
their work area. There is an urge to make their mark, to grow and
progress with time. Music has acquired the shape of a widespread appeal
in the new millennium. Fusion music is a yearn for shared experiences of
the world music. In such a vast Global world the possibilities of fusion
are limitless.
Indian Classical music is attaining a special place in foreign countries
opening friendly doors for European listeners as well as learners paying
a way for its popularization. Indian music is creating a cultural bond
between the orient and occident. Smt.Subbalakshmi, Pt. Ravi Shankar, L.
Subramaniam, Pt. Vishva Mohan Bhatt, Brijbhushan Kabra, Zakir Hussain,
Shri Ali Akbar Khan, Bikram Ghosh, Gaurav Majumdar, Shujaat Hussain Khan
and many others are world renowned artists who have popularized Indian
classical music around the globe. The young generation of artists such
as Anoushka Shankar, Salil Bhatt, Aman Ali and Ayaan Ali Bangash,
Abhijit Pohankar, Niladri Kumar, Meeta Pandit have made successful
experimental endeavors with Indian Classical and world music as a part
of creating novelty in the changing times.
In the 20th century, the album “West meets East” by Pt. Ravi Shankar and
Yehudi Menuhin flashed on the world music scene as of one of the
pioneering works of fusion in Indian classical music. Later he also
collaborated with the George Enesco and Andres Segovia, American
minimalist composer, Philip Glass and various other artists.
The experiments and collaborations of both Violinist L. Subramaniam and
L. Shankar in the World Fusion music with foreign artists have proved as
successful ventures since mid 20th century. Where L. Subramaniam has
worked with Jazz musicians John Handy and Larry Coryell, Japanese koto
player Miya Masaoka, Chinese violinist/Erhu player Jai Bing Chen and
others, L. Shankar has collaborated in “Shakti” a world music ensemble
of Zakir Hussein with John Mc Laughlin and Vikku Vinayakram . Zakir
Hussain’s other world music bands are “Diga Rhythm Band and Tabla Beat
Science”.
Swapan Chaudhuri (Tabla player) launched a project in 2004 namely
Meeting: Two worlds of modal music (Harmonia Mundi), in which he
collaborated and joined Dominique Vellard and Ken Zuckerman to fuse
medieval music with Indian ragas.
Habib Khan a contemporary Indian sitar player has collaborated with
scalloped fretboard Guitar player Mathew Montfort of ‘Ancient Future’
(World music band), for 2 albums “The Longing” and “Ecstacy” with
artists from all over the world as Irina Mikhailova (Russian vocalist),
Swapan Chaudhari (Tabla player), George Brooks (saxophonist), Alan
Kushan (Persian santur player), Danny Gottlieb (Jazz drummer), Ira Stein
(Pianist).
Dr. Lakshiminarayana Subramaniam (Violinist-Carnatic music) is known for
his experimental fusion of music from cultures across the globe. As a
part of experiment for the younger generations, he has amalgamated
musical from Irish, Swedish, Danish, Chinese, African, Japanese and
Iranian music.
Trilok Gurtu, son of the legendry singer Shobha Gurtu, is a world music
percussionist who has collaborated with many traditional music artists
of the world and has many CD’s to his credit. There are innumerable
musician known/unknown who are into experimentations and world music.
The methods that are being applied today in Indian classical music
including the grafting of the principles of harmony of the Western music
attracts the artist as a part of experiment with music and also the
audience for it becomes a colorful experience for them. For the
variegated shades and vast spectrum offered by harmony, it is today
being applied to the oriental melodic line. Today Classical music is
being merged into various genres coming from all over the globe. The
blend of European, African and Asian country's music with Indian is
common face of today's world fusion. Jazz and pop with Indian music that
is Indo-Jazz & Indi- Pop is quite popular. Various Bands and Groups have
emerged who are experimenting with a wide variety of music of the world.
A very important aspect is to protect the local culture and Indian music
from the homogenizing effects of globalization. Native arts and
traditions are important for us as according to art critic Ashok Vajpayi,
local commodities create a world, rich, noble, austere and plural. The
question therein lies that, to what extent can the quality & originality
of music be maintained and also that what would be the parameters on
which the growth and popularization of indigenous or Classical music be
adjudged? Merging alien elements in Indian Classical music is still
debatable among peers. Few are purists and regard it as worthless;
others appreciate and experiment with it as an initial step for
attracting young artists and audience with a multicultural background.
It can be postulated that novelty is something that makes us go through
all past experiences. Because of novelty we tend to look back towards
already established rooted tradition, i.e. world music.
August 3, 2008
Image under license with
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