Organizational Dynamics and Behaviour Assessment Essay
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Order ID 53563633773 Type Essay Writer Level Masters Style APA Sources/References 4 Perfect Number of Pages to Order 5-10 Pages Description/Paper Instructions
Early 12th Century Metropolitan Museum of Art Open Access
Music and Dance
“Without music, life would be a mistake. I would believe only in a god that knows how to dance.” —Friedrich Nietzsche Dancing Celestial Deity (Devata), early 12th century Metropolitan Museum of Art Open Access “The Met Collection”
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Music is and has been, to one degree or another, a part of every human society. Music fulfills needs related to artistic expression: entertainment, group or individual motivation, religious worship, providing an aural accompaniment to films, plays, and other dramatic presentations, reading, and exercising. Music can be so deeply ingrained in our daily lives that sometimes it is hard to separate it from its association with other activities. In many African languages, there is no separate word for music. African music cannot be separated from dance and ceremony.
In some cultures, music is highly prized and considered essential for a full and happy life; it is so revered in others that it is considered appropriate to be experienced only under the most solemn and reverent conditions. Yet what distinguishes music from sound or noise?
There are almost as many definitions of music as there are people who attempt to define it, but everything generally recognized as music (as opposed to noise or sound) seems to have in common human organization, patterning, and intent, as well as a sound source of some kind. Music is primarily an aural experience—it is primarily heard—as opposed to being experienced through any of the other senses, although it is certainly possible to experience music by seeing musical notation, or feeling vibrations, as in the case of British percussion soloist Dame Evelyn Glennie, who describes herself as profoundly deaf.
Ethnomusicology is the study of music within the context of human life—the study of people making music. Ethnomusicologists bring in anthropological, linguistic, psychological, and sociological perspectives, as well as purely musical ones. In contrast to such Western categories as melody, harmony, rhythm, and timbre, the organizing categories of sound, behavior, and conception have evolved over time as major objects of study within the discipline of ethnomusicology.
A distinctive characteristic of ethnomusicology is its interdisciplinary nature. It encompasses not only historical musicology from a comparative perspective, but also psychological, sociological, and anthropological topics, such as perception, linguistics, the traditions of folklore, and cultural studies, which includes the cultural uses of music. Cultures use the performance of music for a variety of purposes (religious and secular communications, dance and other rituals, etc.). The study of its context by ethnomusicologists is an important part of understanding music’s cultural function, or its role in the society that produces it.
In contrast to the work of ethnomusicologists, until the 1980s, musicologists most often wrote about what is represented in a performance of music by 17th- to 20th-century European male composers, rather than what the performers do in each performance. A musical score served as the representation of music. However, scholars now recognize that a musical score hides as much as it shows. Most editions of musical scores, particularly those of early music (pre-1800), are created by using a variety of sources that are incomplete and often contradictory, revealing a good deal of scholarly judgment and educated guesswork when performers give these scores a live performance. Since the 1980s, several musicologists have made more attempts to reach an understanding of European art music (what many people call classical music) as one kind of music among many, both for its own sake and for the possibility of contributing to an understanding of its social and historical contexts.
As you explore the world of dance this week, consider its very close relationship with music in African culture, demonstrated by the resources on African-American spirituals and the ring shout.
Learning Outcomes
Following is a list of the Week 3 outcomes, mapped to the corresponding course outcome. The course outcomes give “the big picture,” and the weekly outcomes provide more detailed information that will help you achieve the course outcome.
Week 3 Outcomes
- Describe the meanings of music and sound (1, 2).
- Use the lens of ethnomusicology to view the field of music (1, 2).
- Identify elements of music and dance (1, 2).
- Analyze music and dance in specific cultures (3, 4).
Course Outcomes Met in Week 3
- Describe and analyze the way human culture is expressed through works of literature, performing and visual arts, philosophy, and religion in order to appreciate the depth and breadth of the humanities disciplines.
- Use basic vocabulary, concepts, methods, and theories of the humanities disciplines in order to describe and analyze cultural and artistic expressions.
- Identify and apply criteria in order to evaluate individual and collective cultural accomplishments.
- Examine individual and cultural perspectives in the field of humanities in order to recognize and assess cultural diversity and the individual’s place in the world.
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